Pioneers in Ingolstadt (film)

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Movie
Original title Pioneers in Ingolstadt
Country of production Federal Republic of Germany
original language German
Publishing year 1971
length 83 minutes
Age rating FSK -
Rod
Director Rainer Werner Fassbinder
script Rainer Werner Fassbinder based
on the play by
Marieluise Fleißer
production Janus Film und Fernsehen, antiteater -X-Film on behalf of ZDF
music Peer ravens
camera Dietrich Lohmann
cut Thea Eymèsz
occupation

Pioneers in Ingolstadt is a film adaptation of the play of the same name by Marieluise Fleißer by the director, author and actor Rainer Werner Fassbinder with the ensemble of the antiteater . It was Fassbinder's ninth feature film within three years. For the third time Fassbinder was able to shoot on behalf of television (in November 1970 in 25 days), for the first time on behalf of ZDF . The budget was 550,000 German marks. The premiere was on May 19, 1971 on ZDF.

action

A pioneer construction team moves into Ingolstadt to build a bridge. The maid Berta lives there with Kaufmann Unertl, who urges his son Fabian to use her for sexual experiences. Berta doesn't like him and falls in love with the soldier Karl. But this only sees her as another adventure and soon leaves her again.

background

At Pioniere in Ingolstadt , Fassbinder's interest in using both theater and film as a form of expression is evident. Of the nine feature films that Fassbinder shot 1969–1971, four are theatrical adaptations: In front of Pioneers in Ingolstadt , he filmed two of his own plays ( Katzelmacher , The American Soldier ) and a play by Carlo Goldoni ( The Coffee House ).

At the end of the 1960s Marieluise Fleißer (after Elfriede Jelinek the “greatest playwright of the 20th century”) was rediscovered. This was also a merit of Fassbinder's performance of the pioneers in Ingolstadt by the antiteater , which took place in February 1968 under the title " For example Ingolstadt " in Munich's Büchner Theater. Marieluise Fleißer supposedly bought all versions of her play Pioniere in Ingolstadt personally because she didn't like it. She learned from the newspaper that her piece was to be played in a heavily edited version. Most recently, the version that Brecht had greatly changed in 1933 caused a scandal and put the piece on the list of harmful and undesirable literature . She wanted to stop the Fassbinder performance and hired a lawyer. “I know that Rainer made a personal effort to get her to accept his processing. Peer Raben drove to her in Ingolstadt and invited her to the dress rehearsal. She then came along with Therese Giehse . They liked it. ”She agreed to a performance with a changed title.

Marieluise Fleißer saw in Fassbinder's play “ Katzelmacher ” (stage: 1968, film: 1969) how he was influenced by “her lacony, her social accuracy, the interplay of the comic and the tragic, and also the longing for happiness, hers Radiate characters and yet never find fulfillment ”.

Fassbinder on his literary adaptations: “If I film other people's stories, it's because I could just as easily have written them myself, as they deal with problems and topics that I have already dealt with in my own subjects. "

The main actor Harry Baer says about pioneers in Ingolstadt that the film was at the end of an initial production frenzy, which was followed by a one-year creative break until the production of Dealers of the Four Seasons . “ Pioneers in Ingolstadt was a high point of confusion, the film is a gross blunder. The 'dealer', on the other hand, is told in a completely straightforward manner, the story is coherent. "

When asked whether Fassbinder's films could reconstruct the history of the Federal Republic of Germany , Fassbinder's cameraman Dietrich Lohmann said : “ I think so. Especially with his first films that I personally find the best, especially ` Merchant of Four Seasons ',' Niklashausen Fart `'Pioniere in Ingolstadt`, ' Animal Crossing ' and then ' Effi Briest '. You can learn a lot about the Federal Republic, about the early Federal Republic, from these films. About the bourgeoisie , the inability to communicate , the xenophobia . (...) The inability to communicate between people, that was, I think, his main theme. That's why all dialogues are very short, but still clear. "

criticism

“It is the conviction of Rainer Werner Fassbinder, who undertook the cinematic realization of the Fleißer pioneers, that the basic references and content of the play apply not only to the time it was made, the Weimar Republic , but to every form of petty-bourgeois society. (...) In terms of motifs, mood and social milieu, one feels reminded of Fassbinder's film Katzelmacher . Here and there, there is small town foulness - Ingolstadt is just one name - the boredom of a petty-bourgeois world that is supposed to be suppressed by sex games. Sexual envy - here with the girls - and finally an unsentimental grief over the loss of love. Again Fassbinder makes use of the stylized Franconian idiom in which the sentences are punched out. Karl's dismissive “When people part, they say goodbye” after Berta has given herself to him, comes along just as slowly and slowly as the simple confessions of the heart. The scenes in the pub are great, where the small town beauties - especially Carla Aulaulu - dance to old-fashioned piano music, exchange secrets in the toilet, argue. The breakfast conversation between the master butcher and his son, where the camera, flitting back and forth between the two of them, always past the oil-painted alpine landscape, manages to draw a portrait of the misunderstanding and loneliness (camera: Dietrich Lohmann ). The film, black and white (sic!) And without any surface varnish, mostly takes place in the dark. It's a night film, sad, crying and true. "

- Renate Schostack, Frankfurter Allgemeine Zeitung, 1971.
Note: It is wrong to say that it is a black and white film.

“After its premiere in May 1971, a critic in the“ Frankfurter Allgemeine Zeitung ”wrote no less enthusiastically than Herbert Jhering once did :“ The film, black and white and without any surface varnish, mostly takes place in the dark. It's a night film, sad, crying and true. ”Today this eulogy seems a bit exaggerated. "Pioniere in Ingolstadt" looks much more like an interim film: a commissioned work that the director celebrates with the long corridors and scenes of constant and penetrating talking past one another as tried out in " Katzelmacher " (fd 16 511), but which is celebrated by his "surrounding" Works “ Warning of a holy hooker ” (fd 17 745) and “ Merchant of the four seasons ” (fd 17 732) is far in the shade. The main crux of the company is perhaps that Fassbinder brought the piece, which was set in the 1920s, into the German present. His intention was to portray the oppressive relationships between men and women as described by Fleißer as something not past, but thoroughly present; at the same time he wanted to show that the army's power and subservience structures also dominate civil life. The Fleißerschen, based on Büchner's “ Woyzeck ”, seem strangely index finger-like in the film and, in contrast to the fashion on display, also archaic and strange. Already in the opening scene, when the maid Berta ( Hanna Schygulla ) appears in a miniskirt and says to her shrewd friend Alma ( Irm Hermann ) in view of the passing recruits: "Why don't they sing ' Oh you beautiful Westerwald '", that corresponds exactly to the first one 1st sentence of the piece, but makes the Berta figure strangely old-fashioned. Of course, this restriction does not mean that there are no grandiose scenic ideas and theatrical performances. (...) "

- Ralf Schenk, film service, 2005.
Note: The abbreviations fd and the numbers given refer to the corresponding reviews in the magazine film-dienst .

literature

Web links

Individual evidence

  1. ↑ a b Rainer Werner Fassbinder retrospective program , Rainer Werner Fassbinder Foundation (ed.), Berlin, 1992
  2. ↑ Interview with Irm Hermann , p. 49, in: The whole normal chaos , conversations about Rainer Werner Fassbinder, Henschel Verlag, Berlin, 1995, ISBN 3-89487-227-6
  3. ^ Rainer Werner Fassbinder , monograph, Michael Töteberg, Rowohlt Taschenbuch Verlag, Reinbek, 2002, ISBN 3-499-50458-8
  4. ^ Biography Marieluise Fleißer Dieter Wunderlich, DieterWunderlich.de, 2008
  5. ^ Pioneers in Ingolstadt Carl Schenk, film-dienst, No. 14/2005, quoted from CinOmat.kim-info.de
  6. ↑ It is better to enjoy pain than just suffer it , interview with Christian Braad Thomsen, 1970; P. 401, in: Fassbinder on Fassbinder , Robert Fischer [Hrsg.], Verlag der Autor, Frankfurt, 2004
  7. ↑ Harry Baer in an interview with Herbert Gehr, p. 104/105, in: The whole normal chaos , conversations about Rainer Werner Fassbinder, Henschel Verlag, Berlin, 1995, ISBN 3-89487-227-6
  8. ↑ Interview with Dietrich Lohmann , p. 156, in: The whole normal chaos , conversations about Rainer Werner Fassbinder, Henschel Verlag, Berlin, 1995, ISBN 3-89487-227-6
  9. ^ Fassbinder's film based on the Fleißer play by Renate Schostack ( memento from January 24, 2009 in the Internet Archive ), quoted from FassbinderFoundation.de
  10. ↑ Information on pioneers in Ingolstadt in the Internet Movie Database, see web links
  11. ↑ Pioneers in Ingolstadt Ralf Schenk (film-dienst No. 14/2005) at CinOmat.kim-info.de