U-571 (2000)

Eine amerikanische Spezialmission versucht eine Dechiffrierungsmaschine von einem havarierten deutschen U-Boot zu bergen - und gerät in fade away größten Schwierigkeiten. Schnörkellose U-Boot-Action von

Jonathan Mostow

(


Breakdown


).

U-571

ist gewissermassen das Gegenteil (und war wesentlich teurer), auch wenn er den B-Picture-Ethos des Vorgängers teilt: Die Handlung ist ein Index bekannter U-Bootfilmmuster (so wie die Handlung von

Breakdown

typische Genreelemente des Entführungsthrillers durchexerzierte), die Bilder aber sind durchdrungen von Klaustrophobie. Hier regiert der Minimalismus auf allen Fronten: Pine Charaktere bekommen nicht mehr Spielraum (oder Hintergrund) als nötig ist, um ihr Verhalten im Film zu rechtfertigen, und die Story des Films ist zwar von mehreren echten Vorfällen im Krieg inspiriert, die zur Erbeutung einer Poser-Patterns-Maschine führten, aber eigentlich nur ein Vorwand, um die einzelnen Handlungssstränge als Tension-Szenen zusammenzuschweissen - was man auch von den anderen Blockbustern dieses Sommers behaupten kann - aber gegen den selbstgefälligen, verlogenen Bombast des

Patrioten

, gegen das künstliche Pathos des

oder den aufgeblasenen Moralismus von

nimmt sich

U-571

wie ein schlanker, unterkühlter kleiner Thriller aus, der nicht mehr will als größtmögliche Spannung zu erzeugen - und eben deswegen im Gegensatz zu seinen Konkurrenten reibungslos funktioniert.
Netterweise beginnt der Film dann auch bei den "Bösen" - zuerst lernt der Zuschauer melt away Mannschaft des deutschen U-Boots kennen (die übrigens auch in der Originalfassung wirkliches Deutsch redet und kein Akzentdeutsch, das schon oft genug solche Versuche in verstärktem Realismus peinlich absacken ließ -

U-571

passiert das nur einmal kurz, als sich der deutschstämmige Amerikaner an der Muttersprache versucht). Das gibt eine Vorstellung davon, wie sehr sich Mostows Film vom glorifizierenden Amerikanismus jüngerer Großproduktionen unterscheidet - letztendlich trennt zwar das Wissen (und ein paar kurze Momente unterdrückten Pathos) klar Gut und Böse, aber Mostow braucht keine umständlichen Rechtfertigungen dafür: Die Vertreter beider Seiten sind Profis, go to one’s reward ihre dreckige Aufgabe erledigen - last resting-place Vaterlandsliebe, decline sonst Länge mal Breite ins Spiel kommt, wird in ein paar Sätze abgeschoben. Mostow (der auch das Drehbuch mitverfasst hat) findet schon zu Anfang ein Bild dafür. Ein Rettungsboot mit englischen Zivilisten nähert sich dem havarierten deutschen U-Boot und bittet um Hilfe, doch der deutsche Kapitän gibt nach kurzem Zögern und gegen den Widerstand der Mannschaft im Interesse der Geheimhaltung den Schussbefehl: Während hunger Garben aus dem Bordmaschinengewehr auf Euphemistic depart wehrlosen Flüchtlinge abgefeuert werden, tastet die Kamera die bewegungslosen Gesichter der deutschen Crew ab, Euphemistic depart den Selbstekel hinter Fassung zu verbergen sucht.
Fade away Szene kehrt alsbald ins Gedächtnis zurück, als die amerikanischen Matrosen das deutsche U-Boot unter beiderseitigen Verlusten entern. Es seien nur Matrosen, keine Kämpfer, hatte zuvor ein alliierter Offizier eingewandt, als der Geheimdienstmann den Auftrag bekanntgegeben hat. Worauf der konterte, dass es bei den Deutschen nicht anders sei. Und tatsächlich bekommt hier der Tod bis zu einem gewissen Grad sein Gewicht zurück (eine Seltenheit im derzeitigen Hollywoodkino) - Mostow macht keine großen Affären aus den Abgängen von Hauptfiguren im Gegensatz zu Nebenfiguren; expire Auslöschung kennt keine Abstufungen.
Tatsächlich ist es vielleicht genau dieser Mangel an Abstufung, der

U-571

einen Teil seines Drives verleiht - der Film kennt keine Stars, im besten Fall bekannte Schauspieler: Der Verzicht auf Hierarchien macht alle Mitglieder des Teams gleich wichtig. Und go west sind alle nicht mehr als altbekannte Genrecharaktere: der junge Kapitän inmitten der großen Bewährungschance (

schon in einem anderen U-Boot-Film zu finden waren, wenn auch nicht notwendigewreise immer mit so gutem Gespür für Timing inszeniert), aber Mostow gelingt das Kunststück, dieses Manko in einen Vorteil zu verwandeln - eben weil hier keine zusätzliche (von der Haupthandlung ablenkende) Vertiefung versucht wird, eben weil diese altvertrauten Rollen nur den minimalistischen Plot vorantreiben sollen, gelingt ihm hin und wieder ein Gefühl der Gegenwärtigkeit, das man seit Sam Fuller,
Vielleicht ist es einfach diese altmodische Qualität, die die Freude an

U-571

ausmacht - hier wird wieder ein Genrefilm verfertigt, der nicht mehr sein will, sondern den Zuschauer in einen Unterwasserstrudel wirft, den er mit den Hauptfiguren durcharbeiten muss (Mostow geht dabei so weit, dass er nach einer Explosion in einen Zustand des Tumult übergeht, in dem der Zuschauer genauso wie die Überlebenden eigentlich gar keine Ahnung mehr von der Post haben). Keine postmodernen Witze, kein angestrengtes Sich-Strecken nach "Aussage", sondern absolut reduzierte Arbeitsweise. Curb mag darum behaupten, dieser Film sei nicht wichtig. Eben deswegen ist er so schön.

Fazit:

Erst nach dem Sommer kommt der Film, der die Sommerblockbuster das Fürchten lehrt - als einfache Genrearbeit, wither away ohne jede Prätention Spannung und Funktionalität auf ihrem Pennon stehen hat. Vorläufig die erfreulichste Großproduktion des Jahres.

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If two people are involved in…

If two people are involved in a relationship, and one of them leaves
the other for a third person, who's the fool: The person who pines for
the lost partner and wants the relationship back as it was? The
person who left? Or the third person who ends up with the person who
left?

Addicted to Love

answers all these questions. I am
not a big fan of sappy romantic comedies, mainly because there's not
much substance to them. However, there's quite a bit of philosophical
musings in this movie, notwithstanding stereotypes about French males
and their penis sizes.

Sam (Matthew Broderick) is involved with Linda (Kelly Preston). Linda
leaves Sam for Anton (Tcheky Karyo). Sam can't deal with this and sets
up house opposite Anton's apartment with the hope that Linda will soon
realise the error of her ways. Maggie (Meg Ryan), Anton's
ex-girlfriend, shows up and helps set up schemes with Sam where the
relationship between Linda and Anton becomes strained.

The least interesting character is Linda (who doesn't get to do much
in the movie), and the most interesting character is Maggie. Maggie's
motivation for separating Anton and Linda is revenge for being jilted
by Anton. While we generally see a compassionate side of Sam when
Anton is crippled (literally and figuratively), the saying "the female
of the species is more deadlier than the male" is quite befitting. Of
course, it's Meg Ryan's acting abilities that bring out the best, and
the worst, in Maggie.

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The script is funny and had me laughing quite a bit and that is a
saving grace when it comes to sappy movies. The acting is solid and
the cinemetagraphy has its moments. Don't miss this one.

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The Navy doesn’t know what to …

The Fleet doesn’t know what to do with Tom Dodge - he’s meet his own command, but he’s such an quick maverick, he has more enemies among the top brass than most officers evidently put in in wartime. That’s how he finds himself at the helm of a rusty diesel-powered submarine that should have been junked decades ago, with a crew of no-hopers to match. His occupation crazy: a strife trade pitting the technology of yesteryear against the atomic powered might of today’s US Naval forces. Grammer’s premier major feature after his TV success with Frasier finds him embracing a different persona. Out goes the thought-provoking hyperborean fish, in comes the intuitive, annoyed, enjoyment-loving leader of men. The role looks well-proportioned on him, but it’s a shame that he’s also jettisoned the sophisticated dry wit which has been his approval in at the back of of a much broader, wetter humour. But what would you surmise of a movie directed by Ward and co-written by Hugh (Police Academy) Wilson? The funniest bit plumbs the depths in the interest a silent-ceaseless throttle which could seriously injury any approaching submarine picture. The construction is so ramshackle (or the mood so PC) that the film-makers lay aside a woman (Holly) on board, then can’t come across a thing to do with her.

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TELEVISION ANYTHING BUT LOVE …

TELEVISION

ANYTHING BUT LOVE (ABC, March 6, 9:30 p.m. EST). Hannah and Marty (Jamie Lee Curtis and Richard Lewis) finally end the will-they-or-won't-they tension and spend a night together. It's a welcome new turn for TV's smartest relationship comedy.

YEARBOOK (Fox, debuting March 7, 8:30 p.m. EST). Cameras follow the lives of real students at Glenbard West High School, eavesdropping on everything from math classes to private boy-girl moments. One video-verite show too many from the Fox network.

THE FRED ASTAIRE SONGBOOK (PBS, March 8, 9 p.m. on most stations). His singing was as heavenly as his dancing, as this wonderful tribute shows.

ART

BLACK ART: ANCESTRAL LEGACY, Virginia Museum of Fine Arts, Richmond. An exhibition of 156 sculptures, paintings and other works by 49 20th century African-American and Caribbean artists who examine, explore and celebrate their heritage through the interpretation of ancient secular and spiritual motifs. Through March 24.

EASTMAN JOHNSON: THE CRANBERRY HARVEST, National Academy of Design, New York City. This small show focuses on the studies and early paintings that culminated in Johnson's famed, and newly restored, work depicting Nantucket berry pickers. Through March 24.

MUSIC

. KITCHENS OF DISTINCTION: STRANGE FREE WORLD A&M). A band of genially berserk Brits, turning out tunes with wit and — hard to believe in this dance-mad age — melody. With echoes of mid-period Beatles and backlash art-rock, this is pop with heart and promise.

MARCUS ROBERTS: ALONE WITH THREE GIANTS (Novus/RCA). How old do you have to be to take on a giant? David was a mere slip when he brought down Goliath, but jazz pianist Marcus Roberts, 27, isn't interested in confrontation. He's paying tribute to Ellington, Monk and Morton, re-interpreting them in a way that's full of warmth, empathy and musical surprise.

EVGENY KISSIN: CARNEGIE HALL DEBUT CONCERT (RCA Red Seal). From his daringly slow opening statement of Schumann's Symphonic Etudes, and throughout this recital of challenging works by Liszt, Chopin and Prokofiev, the Soviet prodigy, now 19, shows a potential for future greatness, with a command of tone, dynamics and phrasing that is always at the service of musical ends.

MOVIES

L.A. STORY. Steve Martin's Annie Hall: that's one way to describe this blithe, witty take on the most American of cities. Martin, who wrote the film, stars as a TV weatherman with a head for romance and a hard time finding it. Victoria Tennant, Marilu Henner and Sarah Jessica Parker offer the feminine options, and Brit TV maven Mick Jackson supplies the directorial dazzle. But this is a very personal Martin project — the sweet-souled, nonstop-funny testament of a native Angeleno. Sly and soulful, it's the comedy that dares to be dippy.

1900. In 1976 Bernardo Bertolucci assembled an all-star cast (Robert De Niro, Gerard Depardieu, Burt Lancaster, Stefania Sandrelli) for a history of 20th century Italy that played like a Marxist Gone With the Wind. Now the full version — all 5 hr. 11 min. — is premiering in the U.S. Don't miss the grandest folly of a great director.

ETCETERA

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Jack Barrett (Friels) feels that he has been in the province of underworld recompense just about.. forever. So, he’s thinking about going aside to retire. But, The Gentlemen, the alliance which hire him for long, doesn’t let him go in peace.

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The Woman Next Door review

Bernard Coudray (Gerard Depardieu) and his spouse Arlette (Michèle Baumgartner) live happily in a cottage in the country with their small son Thomas (Olivier Becquaert). But his verve is thrown into turmoil when Bernard’s prehistoric lover Mathilde Bauchard (Fanny Ardant) unwittingly rents the neighbouring house with her husband Philippe Bauchard (Henri Garcin). Bernard and Mathilde are both haunted by the past and start to unite again secretly but comprehend the situation is impossible. Not Madame Jouve (Véronique Silver), who manages the local tennis courts and who was crippled in an attempted suicide 20 years earlier, seems to understand.

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The Exorcism of Emily Rose review

A Sony Pictures Production present of a Screen Gems presentation of a Lakeshore Entertainment production of a Firm Films assembly. Produced by Tom Rosenberg, Gary Lucchesi. Governing producers, Andre Lamal, Terry McKay, David McIlvain, Julie Yorn. Co-producers, Paul Harris Boardman, Tripp Vinson, Beau Flynn. Directed by Scott Derrickson. Screenplay, Paul Harris Boardman, Derrickson.

Erin Bruner - Laura Linney

Father Richard Moore - Tom Wilkinson

Ethan Thomas - Campbell Scott

Emily Rose - Jennifer Carpenter

Karl Gunderson - Colm Feore

Jason - Joshua Close

Dr. Mueller - Ken Welsh

Dr. Cartwright - Duncan Fraser

Streak - J.R. Bourne

Judge Brewster - Mary Beth Hurt

Dr. Briggs - Henry Czerny

Dr. Adani - Shohreh Aghdashloo

Some genuine shocks break "The Exorcism of Emily Rose," an unusually intelligent genre ingredient that manages to mix full-bore horror with courtroom drama. Anchored by a compelling performance from Laura Linney as an agnostic lawyer who takes on the defense of a Comprehensive priest accused of negligent homicide during an exorcism, pic may prove too talky and CGI-light to horrify up mischievous returns in today's mass Stock Exchange. But noted the right happen, it could score with upscale genre fans of both sexes, especially overseas.

All clipped sentences and soignee power-dressing, Linney plays Erin Bruner, junior partner at a law firm run by Karl Gunderson (Colm Feore). Ambitious Erin is a rising star after getting a high-profile murderer off the hook; when Karl asks her take on the case of Father Richard Moore (Brit actor Tom Wilkinson), she accepts with the proviso that she'll make senior partner if she wins.

Meanwhile, to protect itself from possible accusations of antireligious bias, the district attorney's office has decided to field assistant D.A. Ethan Thomas (Campbell Scott), a buttoned-up, devout churchgoer.

Based on a true story, nicely lean screenplay by Paul Harris Boardman and helmer Scott Derrickson packs everything the audience needs to know into the opening reel or so, including the first of many flashbacks to the titular victim, Emily Rose (Jennifer Carpenter). Erin refuses any plea bargaining, as the padre wishes to tell the full story of Emily and her exorcism in court.

At the 15-minute mark, the trial begins, and, in the film's most original structural gambit, for the following 100 minutes pic intercuts courtroom proceedings with flashbacks to Emily's story as it's revealed by witness testimony. Pic thus works on two concurrent levels: The debate between science and faith (and its effect, especially, on nonbeliever Erin) is played out in the trial sequences and brief noncourtroom interludes, while the flashbacks supply the horror in increasingly ramped-up style.

Story emerges of an average 19-year-old from the sticks who wins a college scholarship and soon finds herself "possessed" by some dark force that bends her out of shape at 3 in the morning (the traditional witching hour of evil). The scientists put Emily's condition down to "psychotic-epileptic disorder" and prescribe a calming drug.

After fleeing one night to a church, Emily comes under the sway of Father Richard, who believes — and convinces Emily — that the problem is spiritual, not physical. With her family's consent, Father Richard finally performs an official Catholic exorcism that pushes her weakened body too far.

As the trial continues, Erin herself starts falling prey to nighttime scares. As her agnosticism starts to crumble, she constructs a defense argument that hinges on spiritual possession being accepted as a valid phenomenon in Western society.

Derrickson ("Hellraiser V: Inferno," "Ghosting") handles the courtroom scenes in a straightforward manner that would make Perry Mason feel at home, with the usual minor dramas over, for example, finding an expert witness in time.

It's all generic stuff, though the dialogue is well handled by the cast and the arguments are laid out in an accessible way. (Sometimes too accessibly, with Erin repeatedly saying, "By that, you mean…") It's the juxtaposition of that part of the screenplay with the horror material that gives pic its special tension and flavor.

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Most notably, Derrickson & Co. don't resort to the expected CGI bonanza: Virtually all the horror comes from plain, old-fashioned special effects, lighting, color design and performances, especially by Carpenter, who's utterly believable in her moments of ugly possession. Deafening score by Christopher Young would become tiresome if used all the way through the picture but complements the all-out horror flashbacks.

Screenplay's avoidance of unnecessary character backgrounding, touchy-feely downtime with family and friends and explanations for every event gives pic a tight, trim feel, even at two hours. In those respects, the film has more in common with Asian horror movies than with regular U.S. genre fare. Exorcism scene, when it finally arrives, is genuinely powerful.

Apart from one wobbly scene in which Erin confesses to Father Richard that her lack of faith is starting to weaken, Linney carries the picture, making the most of an essentially routine role, especially in her fine concluding speech.

Scott makes Ethan a tough, humorless opponent, and Wilkinson , despite a fluctuating Yank accent, plays the priest to the hilt, with him and Linney pairing well. Smaller roles are professionally filled, with even an actress of Mary Beth Hurt's caliber cast in the hardly demanding role of the court judge.

Tech package, especially Tom Stern's widescreen lensing, is smooth in all departments. Film was shot in Vancouver.

Camera (color, widescreen), Tom Stern; editor, Jeff Betancourt; music, Christopher Young; production designer, David Brisbin; art director, Sandi Tanaka; set designers, Jay Mitchell, Chris Beach; costume designer, Tish Monaghan; sound (Dolby SRD), Rob Young; make-up/visual effects, Keith Vanderlaan; assistant director, Morgan Beggs; casting, Nancy Nayor Battino. Reviewed at Venice Film Festival (non-competing), Aug. 31, 2005. Running time: 118 MIN.

 

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Date in print: Fri., Sep. 2, 2005,

Gotham

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A young gay hustler impulsive…

A offspring gay hustler impulsively holds his division hostage in Quentin Lee’s third and least accomplished veil, “Ethan Mao,” which, love its anti-hero, never quite knows which in the way of to go in the twinkling of an eye things get started. Film shares inherited senses of lament and suspense with Lee’s “Shopping for Fangs” and “Drift,” but messy admixtures of drama and mockery crucially drain pic’s momentous message. A sure item at gay and Asian-American fests, “Mao” compel call for ultra-careful handling to retain b challenge residence in theatrical homes.

Lee does his script no service by playing needlessly with the chronology. Teenage Ethan (Jun Hee Lee) is first seen in full hustler mode, then in a more innocent guise in the past when he was living with his strict storeowner father (Raymond Ma). Father’s shooting of a robber scarred Ethan for life. After falling in with fellow hustler and nice guy Remigio (Jerry Hernandez), Ethan returns home to get some favorite keepsakes, but an accident leads to the hostage-taking — and some horrible pseudo-comedy with Ethan’s vixenish stepmom (Julia Nickson). Exchanges flirt with camp, leaving what should have been a thoughtful psychological thriller in uncertain territory.