Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Heimat is the German word for home, homeland and fatherland… with hints of blood and soil. It’s also the name of a particular postwar film genre. Backed with strong American encouragement it helped Germans forget their economic problems and troublesome past, and look blithely forward toward a better tomorrow. Heimat films were made in southern Germany and popular in Bavaria, Austria and Switzerland, depicting traditional small towns filled with girls in blonde pigtails. Heimat films are having a comeback in contemporary Germany, perhaps in response to Conservative governments and feelings of turmoil and insecurity. They concentrate on a mixture of traditional, homogeneous, smalltown Germany, so-called authentic culture, and a longing for a simpler past. Toronto’s Goethe Films: Heimat Now series is running until March 14th.
This week I’m looking at movies about home. There’s a comedy about German man whose accordion leads him to zydeco; and an animated feature about a Canadian woman whose poems lead her to Shiraz.
Schultze Gets the Blues
Wri/Dir: Michael Schorr
Schultze (Horst Krause) is a miner in a small town Germany. This town is so small that the radio traffic report is just a long pause. The village is dominated by a railroad crossing, a motorcross track and an enormous slag pile, expelled from the mine where Schultze works with his two friends Jurgen (Harald Warmbrunn) and Manfred (Karl Fred Muller). But when the three men retire they find they have nothing to do. Chess games end in fights, and trips to the local pub means just the same old faces, over and over.
At least Schultze has his garden gnomes and his trusty accordion. Like his father before him, he’s been entertaining townsfolk with his polkas for two generations. They’re even planning on sending a cultural emissary to its twin city in Texas. Nothing ever changes, until one day, out of nowhere, he hears accordion music on his radio that isn’t quite right. It disturbs him. It’s not a polka, it’s faster, jumpier, and catchier. What is this Amerikanische music? It has entered Schultze’s brain and will not go away. Locals listen in horror and shout the N-word at him. So Schultze sets off for the swamps and bayous of America in search of Zydeco. And he finds the people in small town Texas a whole lot like the ones he left back home.
Schultze Gets the Blues is a simple, endearing comedy about a big-bellied man looking for meaning in music. I have to admit watching this movie felt, at first, like watching paint dry. I guess I’m a city boy used to a faster pace. But once I adjusted to the slower small-town rhythms, it was funnier, fascinating, almost profound. I ended up liking it.
Wri/Dir: Ann Marie Fleming
Rosie Ming (Sandra Oh) is a young woman with pigtails who lives in Vancouver but dreams of Paris. Her mom died, and her dad abandoned her when she was just a little girl so now she lives with her kind but overprotective grandparents.
She works in a fast food joint, and loves poetry, berets and the romance of far-off France. She writes down the words that come to her as she strums at her guitar, and publishes a collection of these poems at a vanity press. Imagine her surprise when she’s invited to a poetry festival far away. Not in Paris, France, but in Shiraz, Iran. With her grandparents consent she arrives there, a Chinese-looking Canadian dressed in a black chador, the most conservative type of Iranian dress, a combination black hijab and full-length gown.
At the poetry festival, she seems out of place. Iran is a land of poetry and Shiraz its poetic capital. At poetry slams she tries to understand what she hears, but the poems in Farsi, German and Chinese evade her. Gradually she meets people who had heard of her… through her father. Far from abandoning her, she discovers her dad was forced to leave her and kept away from her by outside forces. Not only that, but he was Iranian, loved poetry and once lived in Shiraz. His story, and its connection to Rosie May is gradually revealed through the music, the poetry and the people who seek her out. But will she ever discover the truth about her Iranian father?
Window Horses is a visually and musically beautiful movie, portraying a naïve Canadian woman exposed to a colourful and culturally rich country. This is an animated film with simple drawings. Rosie is a stick figure with two lines for eyes, who almost disappears in her Chador. Others have faces decorated with oblong jowls and curlicue eyes. Animation shifts from traditional two dimensional figures to sepia -coloured 3-D frescoes. Voices are provided by Sandra Oh as Rosie, with Don McKellar, Ellen Page and Shohreh Aghdashloo in other roles.
I like this movie.
Window Horses starts today in Toronto; check your local listings. And Schultze Gets the Blues is playing at the Heimat Now series at the Goethe Institute in Toronto.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
The postwar renaissance of Germany’s once great cinema almost didn’t happen. It wasn’t until the 1970s that German movies came into their own. And Rainer Werner Fassbinder — along with Herzog, Wenders, Schlöndorf and von Trotta — was key to this Neue Kino. Born near Munich at the end of WWII, Fassbinder lived his entire life in Bavaria. Between 1966 and 1982, he created a phenomenal 42 feature films, along with countless stage plays and the epic TV miniseries Berlin Alexanderplatz. Between these projects he led a wild personal life filled with sex, drugs and political controversy. Married twice, he also had at least two long-term male lovers, while consuming huge quantities of cocaine.
Throughout, he attempted to document Germany’s cultural history, as the country arose from devastating defeat to become the economic juggernaut it is today. And in many of these films Germany is a woman. His female character try to survive economically, even though outsiders — men – control all the power and money. These women must weave their way through the psychologically damaging malaise underlying Germany’s economic boom. Fassbinder filters these portrayals through his view of Hollywood, especially the so-called women’s pictures of the 1940s and 50s. He idolizes directors like Douglas Sirk and Joseph L Mankiewicz and wants to be their modern, German equivalent, giving his films melodramatic titles like The Bitter Tears of Petra von Kant and [The Longing of] Veronika Voss.
A retrospective of his work, Imitations of Life: The Films of Rainer Werner Fassbinder, presented by the Goethe Institute and TIFF Cinematheque, is on now through the end of the year. I’m looking at three of his “women’s pictures”, great movies from the end of his career, known as his BRD (Bundesrepublik) Trilogy. Though made in the late 1970s – early 80s, they all take place in the 1940s-50s.
There’s a woman married to money, another to the silver screen, and a third to a man she never sees.
The Marriage of Maria Braun (1978) (Die Ehe der Maria Braun)
It’s Germany just after WWII. Maria Braun (Hanna Schygulla) is in a fix. She was married beneath a portrait of Adolph Hitler, as American bombs fell all around her. Three weeks of love, and one night of marital bliss… then husband Hermann was sent back to the Russian front. Now with her husband presumed dead she has to feed herself. But she refuses to call herself a widow. She parades the streets each day with a cardboard sign asking “Where is my husband Hermann Braun?”
Her city is a mess of rubble, rubbish and holes in walls. Well-fed GIs are the only ones with money, while locals subsist on turnips and porridge. Maria is forced to take a job at the Moonlight Bar, a beer hall for US soldiers.
There she meets an African-American GI and falls in love. Their relationship progresses from dancing, to picnics, to English lessons, to sex. But they are interrupted in flagrante delecto by Hermann, back from the war. He beats her up and she, in turn, slams a glass bottle… not at her husband’s head, but at her lover’s, killing him instantly. Hermann takes the fall and goes to jail, while Maria vows to achieve financial success for both of them. The film chronicles her quick rise to power at a French nylon stocking conglomerate. She sleeps with the CEO — just like with the GI — but her heart remains true to her husband. But can he be trusted?
This is a great, though cynical, look at postwar Germany, as seen by the ambitious, but manipulated, Maria Braun. (Not a spoiler, but it does have an explosive ending!) This fantastic and surprising film was Fassbinders first international hit — it played in NY City for over a year.
It’s 1957. The leading citizens of small-town Bavaria are planning a new development: Lindenhof. It will make them all filthy rich. Protesters picket daily on the street and their plans are clearly fraudulent, but, with the government, business and police all on the take, nothing can go wrong.
In walks the new building inspector, Mr von Bohm (Armin Mueller-Stahl). He says he wants to usher in a new city in tune with the German Economic Miracle. He’s both modern and old-fashioned – modern at work, old fashioned at home. He owns a Ming vase and loves children, East Prussians and Frisian tea. And he is a stickler who carefully reads every blueprint, invoice and form. He is “incorruptible”.
When he falls under the influence of a leftist poseur, he vows to confront the “birds of prey” behind this venture. Head vulture? The nouveau riche developer Schukert (Mario Adorf). He’s the local Donald Trump. He’s married to an older woman, but spends most of his time with his mistress Lola (Barbara Sukowa). Lola is a fiery cabaret performer and sex worker at the town brothel. She decides to seduce von Bohm in order to guarantee economic success for herself and her daughter. But who will triumph – the hero von Bohm, or all of the corrupt conspirators?
Lola is a deeply cynical film… but with an oddly happy ending. It decries the corruption, on both the left and the right, and the ordinary people crushed by the wheels of progress. But then the film shrugs its shoulders at the unavoidable results of modernity.
Lola is another great film, a dark satire, lit with phenomenally intense day-glo colours whose pink, aqua and acid green will sear your eyeballs.
Veronica Voss (1981) (Die Sehnsucht der Veronika Voss)
It’s the 1950s in Munich. Veronika Voss (Rosel Zech) is a faded movie actress who once starred in films at UFA, the mammoth German movie studio. She still sits in theatres, staring at herself on the screen. One rainy evening, she runs into a man named Robert Krohl (Hilmar Thate). He gallantly offers her his umbrella, and walks her to the streetcar. Robert is a sports writer, gruff and burly, who knows nothing about movie stars. He happily lives with his lover, Henriette, and secretly writes poetry in his spare time.
But when she asks him for a drink, he is captivated by her larger-than-life personality. She poses and preens, acts impulsively, switching in seconds from elation, depression to agony. Movies, she says, are all about shadow and light, and she demands the waiter adjust the light to make her look better. Robert is smitten. He traces her steps to a neurological clinic, a spotless white office run by a Frau Doktor Katz (Annemarie Düringer). She’s a pretty but severe doctor who offers Veronika friendship (and morphine!) in exchange for complete domination of her life. Can Robert rescue Veronika from the lesbian doctor’s clutches before she is forever lost? Or is she already lost to drugs, and just a flickering image of the star she once was?
Veronika Voss is fantastic melodrama in the style of 30s films and 40s noir with an incredibly shiny, shadowy, black-and-white look.
Fassbinder died of a drug overdose at age 36, not long after this film’s release.
Imitations of Life: The Films of Rainer Werner Fassbinder is playing at TIFF until late December. Go to tiff.net for details. This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.