Rote Sonne aka Red Sun
Rudolf Thome, Germany 1970
Runtime: 85 min
“… one of the best German movies since the silent era … “
Dark and zany, Rote Sonne provides a fascinating snapshot of 60s culture, juxtaposing the B-film crime and science fiction genres with early feminist fervor. With the tag line “Frei, wild, cool und tödlich” (free, wild, cool and deadly), it depicts a group of young women who decide to kill their boyfriends if they insist on a relationship lasting more than five days.
Rote Sonne quickly grew into some early German cult movie with a constant growing importance. Only a few years later the critics called it one of the most important German movies from that time.
Between 1968 and 1971 Rudolf Thome shot four movies in a row (including Rote Sonne). Then he was broke and had to escape Munich. He started a new life in Berlin but it took years until he started to do movies again – unfortunately never achieving such a classic again. Continue reading
Munich in the late Sixties must have been the coolest place on earth. At least when you look at some of the movies that were made around that time. “Detektive” is Rudolf Thome’s feature debut, one year before he shot “Rote Sonne” (Red Sun) Link , and naturally it was a movie about girls and guns (and two cool dudes, proto slackers). The story is almost forgettable, it’s all about the style. And, of course, Uschi Obermaier, the star of “Rote Sonne”, whom Thome had discovered for “Detektive”. (Consequently, for most of the time, Uschi runs around in her undies) The dialogues are hilarious, super deadpan, the crime plot is ridiculous, the cinemathography (b/w and scope) beautiful. Heavily indebted to the French Novelle Vague and Hollywood’s classic gangster films, “Detektive” is miles away from the German New Wave around Wenders, Kluge and Fassbinder. That’s what makes this little flic, shot with friends on weekends (and between tours through the bars in the Schwabing district), so special.
In the lead, the great Marquard Bohm, something like the German Belmondo (a face like no other) and Uli Lommel, who went on to direct the German serial killer film “Die Zärtlichkeit der Wölfe” and numerous Hollywood b movies. Nuff said. Enjoy this very special gem! Continue reading
“Frauen sind keine Engel” was made on a moderate budget and has generally found not as much attention as that which has been rightfully accorded to his ‘Viennese trilogy’ made at about the same time. Please don’t expect the outward splendour of some other Forst films, even though script, acting and direction leave nothing to be desired. However, like many of Forst’s more important films this one not only provides great entertainment, but is also a thorough examination of the relation of fiction/art and reality. Continue reading
On 10 September, 1964, Germany’s one-millionth ‘guest worker’ was welcomed. Spanning a period of no less than forty-five years, this film by sisters Yasemin Samdereli (director) and Nesrin Samdereli (screenplay) tells the story of guest worker number one-million-and-one – a man named Hüseyin Yilmaz and his family. ‘Who or what am I – German or Turk?’ asks six-year-old Cenk Yilmaz when neither his Turkish nor his German schoolmates pick him for their respective football teams. In an attempt to comfort Cenk, his 22-year-old cousin Canan tells him the story of their grandfather Hüseyin, who came to Germany at the end of the sixties as a ‘guest worker’ and who later brought his wife and children to ‘Almanya’. Germany had long since become the family’s home when without warning one night, Hüseyin surprises his loved ones with the news that he has bough a house in Turkey and now wants to return to the old country. Refusing to brook the slightest opposition, the entire family set off for Turkey. This marks the beginning of a journey full of memories, arguments and reconciliations – until, that is, the family trip takes an unexpected turn … The young filmmakers have plundered their own memories of childhood and youth for this, their cinematic debut. Yasemin Samdereli: “Even at an early age, we were always struck by the way people found it amusing whenever we told them stories about our childhood: that Nesrin for instance once played German carnival figure ‘Funkenmariechen’ and used to belt out Catholic hymns fervently during mass. Or that I used to play the flute in a marching band and wrote my name Jasmin – until my second grade teacher torpedoed my attempts to hoodwink her.” –Berlinale Continue reading
Shy, chain-smoking, insomniac Peter McGowan is an L.A. playwright with a string of hits that preceded his current ten years of failed productions. His mother-in-law is sinking into senility, a stranger is meandering the neighborhood claiming to be him, neighbors have a new dog that barks all night; his wife wants to have a child, and he does not: he’s become impotent. He’s working on a new play when a single mom moves in next door with her 8-year-old daughter. His wife immediately invites the girl into the McGowan household. Will this child stir Peter’s paternal feelings? Will she also help him get his dialogue right? And what of his doppelganger and the neighbor’s dog? Continue reading
S y n o p s i s
A woman living in the Paris suburbs struggles with a loveless marriage and apathy toward her family and friends as she spends her days quietly wandering about her house. Austrian playwright and novelist Peter Handke contributed screenplays to a number of films by director Wim Wenders (Wings of Desire, The Goalie’s Anxiety at the Penalty Kick). Here (in a film that Wenders produced), he provides both the scenario (adapting his novel of the same name) and direction for this meditative examination of domestic ennui. Continue reading
The film shows the unique world of artist Sergei Parajanov, whose brilliant images in films and collages aroused the suspicion of Soviet authorities. Unexpectedly, this last all-embracing interview, given at the 1988 München Film Festival, has become a film legacy.
Sergei Parajanov was born an Armenian in Georgia. He studied at the Moscow Film School and worked as a director in the Ukraine. His stylistic vitality and “plasticism” – a term he used to describe his films – enabled him to creative universal images. Continue reading