Tagged: Christian Petzold

Barbara (Germany 2012)

Andre and Barbara as Bogie and Bacall?

There was a moment when I was watching Barbara – which admittedly means quite a lot of watching the wonderful Nina Hoss – when it occurred to me that if there was a film like this to watch every week, I’d be very happy. When the film finished, my viewing companions surprised me by not agreeing with my sense of satisfaction. Perhaps they’ll comment on this post and explain why?

Many of the press reports have compared Barbara to The Life of Others (Germany 2006) which proved a major international hit. Barbara is similar in theme, but not in ‘feel’. Some aspects of Das Versprechen (The Promise, Germany 1994) seemed more apposite for me. I think director Christian Petzold set out to make a film quite unlike The Lives of Others in its depiction of life behind the Berlin Wall.

The setting of Barbara is East Germany in 1980. Barbara (Nina Hoss) has arrived in a small town in Pomerania near the Baltic coast to take up a new post in a hospital. Gradually we learn that she has been forced to leave a prestigious hospital in Berlin following her request to leave the country. Having angered the authorities with this request, she is now not to be trusted and is therefore subject to routine surveillance in her allocated apartment and suffers doubly in the hospital. It will take her time to sort out who is unfriendly because they think she is a stuck-up metropolitan type and who has been assigned to watch her closely and report back.

Barbara knows the score and therefore she is reluctant to respond to the overtures of Andre (Ronald Zehrfeld) who is effectively her boss. He seems warm and welcoming, but is he too good to be true? Forced into moments of close contact (they are paediatric surgeons, working together) he at one point tells her a story to explain why he too has been ‘sent to the provinces’. Is he lying? Zehrfeld, who comes across as a slightly podgy but much nicer Russell Crowe, is very engaging but the film’s production design and cinematography creates a narrative space so pregnant with distrust that we are equally as unsure as Barbara about who to trust. (He clearly is under surveillance himself, but this might be a cover, a double-bluff.)

There is an excellent Press Pack for the film available here (as a pdf) in which Petzold discusses the film at length in terms of what he was trying to achieve and how he and the cast and crew prepared themselves. He tells us, for instance, that the two films that were most important in influencing the story and how he approached it were Howard Hawks’ To Have and Have Not in which Bogart and Bacall develop a romance in Martinique under surveillance by the Vichy French police in 1940 and Rainer Werner Fassbinder’s Merchant of Four Seasons. The latter is one of several Fassbinder melodramas which present the feel and tone of life in post-war West Germany. Petzold showed the Hawks picture to his would-be lovers before the shoot and then looked to create something similar to Fassbinder’s mise en scène in representing the GDR in 1980. He argues that in recent films, the GDR has been portrayed in greys and browns – too symbolically drab and desperate. Petzold claims to have steered away from symbolism as such and tried for a very realist presentation, meticulously recreating hospital rooms etc. Certainly he shows the late summer as full of vibrant colours in the fields, but some scenes still seem to have an expressive edge (on several occasions when Barbara makes dangerous journeys by bicycle near the sea in order to secretly meet her West German lover  or to hide incriminating evidence, there is a howling wind blowing). Overall though I think the approach works and the atmosphere is created more by narrative suspense than clunky symbols.

The last section of the narrative is both the most emotional in terms of the potential romance and the most suspenseful. It is also the sequence in which Petzold seems to contrive a thriller narrative with a plot that is either full of holes or too obvious in its direction. I can see these criticisms but neither of them bothered me as I watched the sequence. The careful mise en scène and slow pace – even as the tension mounts – kept me enthralled. I felt both the horror of living in a society where every sound of a motor vehicle or a step on the stair means possible discovery and arrest and the romantic intensity of choosing between security on the one hand and genuine passion but no security on the other. This kind of desperate choice is really what the film is about. I though the film’s ending was appropriate and satisfying and overall I found the film to be humanist in its approach.

Yella (Germany 2007)

Nina Hoss as Yella

I missed Christian Petzold’s appearance at the Bradford Film Festival earlier this year, so it was good to catch up with his latest release, Yella on DVD. Yella is an intriguing film that creates a metaphor about both a sense of East Germans looking for an escape to a better future and a sense of the empty and soulless capitalism of the West, represented here by the glass-walled offices rented by venture capital companies on the Autobahne outside major cities.

The striking Nina Hoss plays a young woman who leaves her abusive husband in the East seeking a new job on the other side of the Elbe. What she finds is a situation in which another version of her husband – a more successful and organised venture capitalist – properly appreciates her skills as an accountant. Or does she? The film has a twist. It was recommended to me as rather like Kim Ki-duk’s 3-Iron and, surprisingly perhaps, I can see the connection. The twist will no doubt anger some audiences – perhaps it will be thought obvious, perhaps it will be taken to be wilfully obscure. Either way, it works for me and I found the film to be a much more interesting account of East and West than the more hyped films such as The Lives of Others. Yella is beautifully filmed and carefully and intelligently directed. The DVD release by Artificial Eye (Region 2) has interviews with both Petzold and Hoss that are revealing of the methods used. I hope more of Petzold’s films are released in the UK.