Citizen Lawrence: Joy von David O. Russell

Die Mise-en-Scène von David O. Russell ist ein kleiner irritierender Wunderladen. Oberflächlich betrachtet hat man es in seinem neuesten Film Joy mit einer fast schon beängstigend naiven, ur-amerikanischen Aufsteigergeschichte zu tun. Jennifer Lawrence spielt Joy Mangano, eine Erfinderin, deren großer Durchbruch mit dem Miracle Mop kam. Sie kommt aus einem desaströsen Haushalt, in dem, in der für Russell typischen Hysterie, alles drunter und drüber geht mit riesigen Sonnenbrillen, vielen Scherben und Geschrei. Jeder Figur gönnt Russell, ganz unabhängig davon, ob diese Figur noch eine größere Rolle spielen wird, einen spektakulären ersten Auftritt. Er inszeniert wild mit vielen Fahrten, direkten Zitaten aus dem Film völlig fremden Genres (zum Beispiel wird bei einer Verhaftung plötzlich eine Scorsese-Gangsterfilm-Fahrt von der gegenüberliegenden Straßenseite auf das Polizeitauto, in dem Joy verschwindet, gestartet) und plötzlichen abstrakten Bildern wie zwei Silhouetten, die sich in einer Nische unterhalten, sodass zwischen ihnen eine weitere Figur im Bildhintergrund zu sehen ist. Vor allem in den ersten Minuten des Films entsteht so eine kaum klassifizierbare Achterbahnfahrt skurriler Figuren und enger Settings, in denen ständig etwas nicht funktioniert, zu Bruch geht oder den Figuren im Weg steht. Szenen, die man ernst erwartet, werden ins Absurde geführt und Szenen, bei denen man die Satire spüren kann, werden sehr ernst vorgetragen. Joy hat die Idee für den Mop in einem unfassbar aufgesetzten Moment, sie muss von dort an kämpfen, weil keiner sie wirklich unterstützen kann, sie wird belogen, andere Mitmenschen entpuppen sich als überraschende Helfer, sie kommt schließlich ganz unten an und zieht sich aus der Schlinge. Voilà! Vieles im Film wird von dem äußerst gezwungenen Wunsch angetrieben, die Aufsteigergeschichte einer einfachen Frau zu erzählen. Citizen Lawrence,  schaut her man kann Mutter sein und trotzdem Karriere machen oder so ähnlich. Zudem legt Russell eine derart bescheuerte Rahmenhandlung samt Erzählstimme der Großmutter und Papierhaus-Psychologisierungen auf den Film, dass man sich wirklich fragen könnte, ob irgendwer dieses Drehbuch gelesen hat bevor es verfilmt wurde. Aber dann muss man feststellen, dass genau das der Punkt ist. Denn unter, ja zwischen und über dieser Narration brodelt es gewaltig.

joy2

Zum einen gibt es den assoziativen Drang von Soap-Operas, mit denen der Film beginnt. Joys Mutter Terry (Virginia Madsen) verbringt ihr Leben im Paralleluniversum dieser Seifenopern. Der Fokus auf diese Form der Fernsehunterhaltung ist zunächst also der Psychologisierung einer Figur geschuldet, vielmehr aber noch ist er ein Ausdruck bestimmter zeitlicher Strömungen, in deren Reich schließlich auch der Mop und sein Verkauf eindringen werden. Außerdem nähert sich Russell so den Klischees und Wahrheiten des Hausfrauendaseins dieser Tage, zu dem nunmal Soap-Operas gehören. Vielmehr Flucht bleibt nicht: Ein kaputter Zaun, ein Mop, ein oder zwei Wochen Liebe und das Fernsehgerät. Aber wie schon bezüglich der unterschiedlichen Aspekte des Verkleidens in American Hustle entfaltet Russell auch in Joy eine Art Meta-Subplot, der sich nicht nur mit Soap-Operas beschäftigt, sondern bestimmte Ästhetiken und Inszenierungsstrategien dieser Form annimmt. Und genau in dieser Feststellung öffnet sich dann ein womöglich notwendiger Blick auf die entscheidende Frage des Films: Hat Russell hier wirklich ein geradliniges Märchen erzählt oder hat er darin auch eine Kritik versteckt?

Immer wieder hängt der Film zwischen dem Kitsch und der Satire. Russell flirtet mit einer Strangeness, die man so zuletzt von ihm in I Heart Huckabees gesehen hat. Die Seifenoper kommt nun nicht nur durch den extrem forcierten Glauben an Selbstbestimmung (die letztlich auch ein Merkmal des klassischen amerikanischen Kinos ist, in das Russell sich augenscheinlich auch verliebt hat), sondern auch durch die Inszenierung bestimmter Szenen und Settings in den Film. So stellt Trudy (Isabella Rossellini), die neue Frau an der Seite von Joys Vater (Robert De Niro) in einer äußerst bizarren Szene die „Four Questions of Financial Worthiness“, wobei sie nach zwei Fragen, das Interesse an den Fragen zu verlieren scheint. Im Hintergrund steht Edgar „Carlos“ Ramirez mit roter Lederjacke. Russell verdichtet den Moment so extrem, dass nur noch der muscial cue fehlt, um einen perfekten Seifenoper-Moment zu bekommen, der sich gleichzeitig selbst auf die Schippe nimmt. Viele Szenen könnten rein von ihrem dramaturgischen Gehalt direkt aus einer Soap stammen. Man trifft den Ex-Mann mit einer neuen Freundin am Parkplatz des Supermarktes, die Mutter verliebt sich in den Klempner, die Großmutter stirbt und Joy muss die Treppen nach oben zu ihrem Sterbebett gehen, während sie von ihrer ganzen Familie beobachtet wird. Die bereits bschriebene Szenen mit den Silhouetten in der Nische findet vor der Figur der Mutter statt, die Großmutter und Tochter betrachtet wie in einer Soap. Darüber hinaus gibt es einige Traumsequenzen, in denen Joy direkt in die Welt der Soaps hineinversetzt wird. Aber dann sitzt die Familie zusammen vor dem Fernseher und es bröckelt gewaltig. Es ist die Kunst all jener Kritiker des Films, nicht zu sehen, dass Russell zum einen diese Soap-Muster aufnimmt (was in sich schon sehr mutig und gelungen ist) und sie zum anderen mit großer Energie zerstört. So ist die neue Freundin des Ex-Mannes sehr merkwürdig und an ihrer Seite laufen zwei Brüder mit durchs Bild, der Starverkäufer des TV-Senders ist eine hochsensible Diva und so weiter. Zudem wechseln sich äußerst offensichtliche und sehr ironische Musikeinsätze ab.

JOY

Der eigentliche Drang des Films ist keine Entscheidungsunfreudigkeit zwischen Kitsch und Satire, es ist der ernste Versuch an Wunder und diese amerikanischen Aufsteigergeschichten zu glauben, in einer Welt, die letztlich immer absurd, satirisch und daneben sein wird. Sämtliche Figuren, die am Ende des Films mit der kühlen Macht des Erfolgs ausgestattet werden (eine Macht, die Russell bezüglich ihres Werts und ihrer auch so inszenierten Härte in Ambivalenz hält), begegnen den ganzen Film über den komischen und satirischen Momenten mit überraschendem Ernst. Immer wenn man eine Over-the-Top-Szene erwarten würde, begegnen Joy und auch TV-Chef Neil Walker (Bradley Cooper) den komischen Situationen mit einer zielgerichteten Nüchternheit, die an Magie glauben will. So unterbricht Walker den ungerechten und albernen Versuch eines Mitarbeiters, der den Mop ausprobieren will mit einer nüchternen und selbstherrlichen Erklärung seiner Person. Er stoppt den Irrsinn, um an ein amerikanisches Wunder zu glauben. Was man also mit Russell suchen muss, ist nicht die Kritik an diesem kapitalistischen Traumland, sondern das Traumland in diesem generellen Zynismus. Dieser Weltsicht muss man natürlich keineswegs folgen, aber formal macht sich Russell, der zudem einer der wenigen Filmemacher in Hollywood bleibt, die in Kostümen und Settings narrative Funktionen entdecken (das klingt nicht besonders, sollte es auch nicht sein, ist es aber…), unangreifbar.

Man darf Russell vielleicht auch nicht ernst nehmen. Statt an Kohärenz ist er eher am filmischen Prozess interessiert. Es geht ihm – auch laut eigenen Aussagen – viel darum, Dinge auszuprobieren und seine Schauspieler in neue Situationen zu bringen. Jennifer Lawrence in einigen Szenen, in der sie eine zärtliche Mutter ist, Bradley Cooper todernst hinter einem Schreibtisch, Edgar Ramirez singt Something Stupid. Das WTF-Level ist hoch. Russell bleibt ein Filmemacher des Spiels. In einer bemerkenswerten Szene begeistert sich Walker für die Bedeutung der Hände im Schauspiel/Verkaufsprozess. Gleichzeitig macht Bradley Cooper enormen Gebrauch von seinen eigenen Händen und die sehr agile Kamera beginnt sich in diese Bewegungen zu verlieben. Solche Szenen sind zugegeben deutlich rarer als in American Hustle, aber sie sagen immer noch eine Menge über die Lust am Spiel, die in Joy auch eine Lust an der Naivität des Kinos bedeutet.

 

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  72. The refreshing Zune browser is astonishingly favourable, nevertheless not as beneficial as the iPod’s. It works very well, nonetheless is just not as instant as Safari, and contains a clunkier interface. If you occasionally program on employing the world-wide-web browser which is not an issue, but if you happen to be developing in the direction of examine the web alot against your PMP then the iPod’s much larger display screen and superior browser may perhaps be important.

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  74. Arms down, Apple’s app retailer wins as a result of a mile. It is a significant alternative of all types of apps vs a rather disappointed conclusion of a handful for Zune. Microsoft is made up of Ideas, specifically inside of the realm of games, nonetheless I’m not guaranteed I’d have to have towards bet upon the foreseeable future if this function is major toward yourself. The iPod is a significantly greater selection in that scenario.

  75. Good – I should certainly pronounce, impressed with your site. I had no trouble navigating through all tabs and related info ended up being truly easy to do to access. I recently found what I hoped for before you know it at all. Quite unusual. Is likely to appreciate it for those who add forums or anything, web site theme . a tones way for your customer to communicate. Nice task.

  76. Apple now has Rhapsody as an app, which is a exceptional begin, nonetheless it is previously hampered by means of the incapacity towards shop domestically upon your iPod, and has a dismal 64kbps little bit cost. If this changes, then it will somewhat negate this ease for the Zune, nonetheless the Ten audio for each month will however be a huge furthermore in just Zune Pass‘ choose.

  77. Involving me and my spouse we’ve owned additional MP3 gamers in excess of the yrs than I can depend, together with Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, and so forth. But, the previous several yrs I’ve settled down in direction of one particular line of players. Why? Simply because I was delighted to examine how well-designed and exciting toward use the underappreciated (and extensively mocked) Zunes are.

  78. I appreciate, cause I found exactly what I was looking for. You have ended my four day long hunt! God Bless you man. Have a great day. Bye

  79. Hi my family member! I want to say that this article is awesome, great written and include almost all significant infos. I would like to look extra posts like this .

  80. I am going to tools this examine in the direction of 2 patterns of us citizens: present-day Zune house owners who are thinking about an improve, and These attempting in direction of make your mind up among a Zune and an iPod. (There are other avid gamers truly worth contemplating out there, which includes the Sony Walkman X, nonetheless I count on this gives by yourself enough facts toward make an knowledgeable decision of the Zune vs players other than the iPod line as very well.)

  81. Sorry for the massive evaluate, but I am extremely loving the new Zune, and hope this, as effectively as the good quality critiques some other americans comprise created, will assist yourself make a decision if it is really the directly final decision for your self.

  82. I will machines this critique to Two patterns of us residents: present Zune home owners who are thinking about an improve, and men and women attempting in direction of decide concerning a Zune and an iPod. (There are other gamers worthy of thinking about out there, which include the Sony Walkman X, nonetheless I expect this presents oneself sufficient details in the direction of produce an knowledgeable option of the Zune vs players other than the iPod line as very well.)

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