Don't flee anymore
| Movie | |
|---|---|
| Original title | Don't flee anymore |
| Country of production | Germany |
| original language | German |
| Publishing year | 1955 |
| length | 68 minutes |
| Age rating | FSK 16 |
| Rod | |
| Director | Herbert Vesely |
| script | Herbert Vesely Hubert Aratym |
| production |
Hans Abich Rolf Thiele |
| music | Gerhard Rühm |
| camera | Hubert Holub |
| cut | Caspar van den Berg |
| occupation | |
| |
No longer flee is a semi-documentary experimental film by the cinema debutant Herbert Vesely from 1955. The 24-year-old Viennese tried to use the means of a cineast to approach the philosophy of existentialism, which was particularly popular in the early post-war years .
action
Man in the atomic age, a lost existence. A man, a woman and a young girl flee the city into the nothing of a stone desert forsaken by humans and god. The two adults come across an abandoned railway station where they settle down. In this environment of absolute hopelessness, intense interpersonal tensions soon arise, resulting in rape and ultimately even murder. Four policemen appear and arrest the man.
Production notes
The shooting of the experimental strip, which managed entirely without studio recordings, took place from October 25 to November 26, 1954 in Arda in the Spanish province of Almeria. The premiere was on June 27, 1955 in two cinemas in Mannheim and Hamburg. The film was shown mainly in special screenings and matinees, but also in 13 selected, regular movie theaters in Germany.
Herbert Vesely also took over the production management. The film received the rating “valuable” and was shown in July 1955 as a German festival contribution to the IX. International Film Festival in Locarno .
classification
Vesely's debut work is strongly influenced by Jean Cocteau's 1949 screen opus Orpheus , the cinematic original work of existentialism.
Reviews
No longer flee met with varied echoes and established Vesely's reputation for being a director, regarded as an outsider even in filmmaking circles, with a penchant for bulky subjects and experimental imagery.
Der Spiegel identified a “sequence of strange, surrealistic superimposed visual visions” and saw in the first work the “attempt of the 24-year-old Viennese Herbert Vesely to compose an abstract work of art out of image and sound in bold disregard for film-dramaturgical laws or, as he himself put it, to compose an abstract work of art instead narrative action to string a sequence of static states together '. This opus without a plot ”is by the way, according to Der Spiegel, at the same time a courageous attempt by the Göttingen production manager Hans Abich, without any commercial requirements and“ regardless of the audience impact and box office success, a pure film experiment based on the principle of 'L'art pour l 'art' to finance ”.
Also , the time devoted to detail this unusual trip to the cinematic existentialism. In its edition of February 9, 1956, it says: “What distinguishes this" experimental film "purely formally from the usual strips is, in the somewhat unfortunate words of its director, the" static sequence of states instead of the narrative tape ". Simply put, Vesely tries to analyze a condition. The theme of this analysis is hopelessness, which is indirectly compared to the human condition before the atomic bomb explosion. The way of looking at the subject is that of Camus' existentialism. "
The German Feature Film Manach 1946–1955 stated “In the film, an attempt is made to use expressionist means to create a graphic image of the philosophy of existentialism. By stringing together filmic fragments, the impression of the futility of existence in the atomic age is to be created. "
Kay Wenigers Das Großer Personenlexikon des Films saw in Vesely's biography nothing more to flee than the attempt of "a pessimistic cinematic collage shaped by existentialism".
In Filmdienst states: "An almost act loosely stringing cinematic fragments illustrates the futility of human existence in the nuclear age. Thematically and mentally influenced by existentialism, formally by surrealism , the half-length experimental film attempts to analyze the zeitgeist and the reality of the 1950s. "
Individual evidence
- ↑ Don't flee anymore on viennale.at. There it says: “Even in“ no longer flee ”the main character is a woman. Her name is Sapphire. In her cool queenliness she recalls Maria Casarès in her role of the female death in Cocteau's "Orphée" (...). The man who accompanies them on their escape from an invisible danger is their chauffeur and servant who has to haul their luggage. Dependencies that go into the absurd, as in the case of Beckett and Genet, replace any further development in the desert location, which is marked as a null location and where the escape ends. In the inner circle, everything becomes possible out of indifference, including murder. The hostility of the world takes possession of people and makes them alien and cruel. Camus is addressed here directly. It's the last hours before the final catastrophe. "
- ↑ In the Zone Null , Spiegel article, issue 29/1955
- ^ No longer flee , Zeit article from February 9, 1956
- ^ Alfred Bauer: German feature film Almanach. Volume 2: 1946-1955. Munich 1981, p. 541
- ^ The large personal dictionary of films, Volume 8, p. 169. Berlin 2001
- ↑ Don't flee anymore. In: Lexicon of International Films . Film service , accessed December 1, 2019 .
Web links
- Don't flee to viennale.at anymore
- Not flee in the Internet Movie Database (English)
- No longer flee at filmportal.de