De Sica-Retro: Sequenzanalyse zu I Sequestrati di Altona

Anfang der 60er Jahre machte sich Vittorio De Sica daran, Jean-Paul Sartres Theaterstück Les Séquestrés d’Altona zu verfilmen. Sartre lässt darin den halbverrückten Spross einer reichen Industriellenfamilie aus Altona auf dem Dachboden des herrschaftlichen Familienanwesens die Psyche der janusköpfigen Gesellschaft der Nachkriegszeit aufdecken. Im Film übernimmt diese Rolle Maximilian Schell, den De Sica gekonnt durch das existenzialistische Kammerspiel Sartres peitscht. Diese Szenen in Schells Refugium, die vor allem auf psychologisch tiefe Dialoge setzen, bricht De Sica allerdings immer wieder mit Ausblicken in die „echte Welt“ auf. Das heißt, er begibt sich auf die Straßen Hamburgs, die Reeperbahn, in die monumentalen Werften des Hafens, und stellt so einen sehr viel eindeutigeren Bezug zur Bundesrepublik her, als Sartre – die Bühnenfassung hat eindeutig universelleren Charakter. Neben dieser allegorischen Funktion dienen diese Szenen natürlich auch der Auflockerung des Rhythmus und bieten De Sica Gelegenheit seine souverän-eleganten Kamerafahrten für sich sprechen zu lassen und die räumliche Beengtheit der Kammer zu verlassen.

Im Folgenden widme ich mich nun einer Sequenz zu Beginn des Films, in der De Sica seine inszenatorische Finesse dazu einsetzt, mit Hilfe des besonderen Charakters der Stadt einen Protagonisten einzuführen und die Stimmung für den ganzen restlichen Film festzulegen. Dies tut er zugegebenermaßen nicht auf allzu subtile Weise, aber keineswegs aufdringlich oder brachial. Ich denke, das Besondere an seinem Regiestil ist die Eleganz und Souveränität, mit der er die (zu) eindeutigen Gesten in seiner Bildersprache verschleiert.

Zu Beginn der Sequenz befinden wir uns kurz nach Minute fünf im Film. In der Vorspannsequenz sah man deutsche Soldaten an der verschneiten Ostfront russische Partisanen foltern, in der darauffolgenden Szene erfährt ein alter Mann, gespielt vom amerikanischen Hollywoodveteranen Frederic March, dass er an Kehlkopfkrebs erkrankt ist, und nur mehr sechs Monate zu leben hat. Der Mann scheint sich mit diesem Urteil abzufinden – sechs Monate reichen ihm, sagt er – trotzdem wirkt er bei Verlassen der Praxis wie ein geknickter, sterbender, alter Mann. March wird zunächst als brüchiger Charakter dargestellt, zwar wirkt er gefasst, doch lernt ihn das Publikum in einem Moment der Schwäche kennen.

I Sequestrati di Altona von Vittorio De SicaI Sequestrati di Altona von Vittorio De SicaI Sequestrati di Altona von Vittorio De Sica

Frederic March verlässt also die Arztpraxis, marschiert gefasst, wie nach jedem anderen Termin in Richtung seines Wagens. Dort wartet bereits ein Chauffeur, der die Autotüre öffnet und dabei artig die Kappe abnimmt. Der alte Mann strahlt ohne Zweifel Respekt aus, der Umgangston der 60er Jahre war noch weitaus förmlicher als heute; aber dennoch – dieser Mann ist kein Umberto und schon gar kein armer Schlucker. Mit entschlossenem Blick stiert er schließlich aus dem Fenster, während der Wagen sich in Bewegung setzt. Wer ist dieser alte Mann? Wer ist dieser Mann, der einen noblen Wagen samt Chauffeur vorzuweisen hat?

I Sequestrati di Altona von Vittorio De Sica I Sequestrati di Altona von Vittorio De SicaNächster Schauplatz: der Hamburger Hafen. Mächtige Schiffe zeichnen sich vor dem nebelverhangenen Horizont ab. Es regnet nicht, doch wirkt es unangenehm kalt. Passend zum Wetter kommt der alte Mann mit säuerlichem Blick wieder ins Bild. Nun kaum mehr geknickt, aber noch immer mit seinen Röntgenunterlagen unter dem Arm, steht er wie eine Statue vor dem Hamburger Hafenpanorama – hinter ihm weht gar eine Flagge im Wind. Kurz ist man räumlich desorientiert – der Alte scheint über dem Hafen zu schweben, bis sich herausstellt, dass er an Bord eines kleinen Bootes das Hafenbecken durchquert. Dieses Boot ist keine Fähre, sondern scheinbar nur für den alten Mann allein gedacht; nach einem Luxuswagen nun also ein ebenso exklusives Fortbewegungsmittel zu Wasser. Noch mehr als diese Tatsache, fällt aber De Sicas Inszenierungsweise ins Auge; wie eine griechische Statue wird der Alte an Bord seines Schiffes in majestätischer Pose abfotografiert und verzieht dabei keine Miene, sondern trotzt dem Wetter, als könne es ihm gar nichts anhaben. Der Eindruck verstärkt sich, dass dieser Mann mehr auf dem Kasten hat, als man es beim Verlassen der Arztpraxis womöglich erwartet hätte.

I Sequestrati di Altona von Vittorio De Sica I Sequestrati di Altona von Vittorio De Sica I Sequestrati di Altona von Vittorio De SicaEine Schleuse tut sich auf, das Boot mit dem alten Mann an Bord begibt sich in das Innere eines größeren Werftgeländes. Dort begegnen ihm mehrere Boote ähnlicher Größe, die als Fähren für Werftarbeiter dienen. Der Alte überblickt das Geschehen und verzieht weiterhin keine Miene, während die Mannschaften an Bord der entgegenkommenden Schoners dem Alten respektvoll zujubeln. Ist das der Triumphzug Cäsars? Doch was ist das für ein eigenartiger Pyrrhussieg, den der alte Mann erfochten hat; sechs Monate verbleiben ihm in diesem Leben noch – was für ein Reich hinterlässt dieser Feldherr? Und welche Schlachten sind noch ausständig, um es zu konsolidieren?

I Sequestrati di Altona von Vittorio De Sica I Sequestrati di Altona von Vittorio De SicaIn einer letzten Einstellung im Hafen blickt die Kamera auf ein riesiges, in Bau befindliches Schiff, auf den das kleine Boot zusteuert. Von der Schiffsschraube aufwärts beginnt die Kamera hochzuschwenken, ganz oben über der Werft prangt der Schriftzug „GERLACH“, der schon zuvor auf dem Tor der Schleuse zu lesen war. Gerlach heißt also das Reich, in das der Mann einzieht, dem soviel Respekt entgegengebracht wird. Wer aber ist nun dieser Feldherr, und welche Funktion nimmt er im Reiche Gerlach ein?

I Sequestrati di Altona von Vittorio De Sica I Sequestrati di Altona von Vittorio De Sica I Sequestrati di Altona von Vittorio De Sica I Sequestrati di Altona von Vittorio De SicaEin Schnitt später und die Kamera hat den Hafen verlassen. Ein Meer von gezogenen Hüten empfängt Frederic March, als er ins Gewusel des Bürogebäudes eintaucht, wo er nun als solitäre Majestät durch die Masse der Untertanen schreitet. In nur wenigen Einstellungen vermag es De Sica, noch deutlicher, als in den Szenen mit den Fährschiffen zuvor, das Charisma dieses Mannes herauszukehren. Selbst als dieser im Paternoster nach oben fährt, folgen ihm die Blicke und die Menschen erweisen ihm ihren Respekt, während er weiter stoisch, maximal mit einem leichten Nicken, deren Gesten erwidert. Aus dem Paternoster schließlich der erste echte POV-Shot in dieser Sequenz: der Mann blickt herab auf die Angestellten und Arbeiter und die abgenommenen Hüte. Das ist Macht.

I Sequestrati di Altona von Vittorio De Sica I Sequestrati di Altona von Vittorio De Sica I Sequestrati di Altona von Vittorio De SicaSchließlich betritt der alte Mann ein großes Büro. Ein Kameraschwenk folgt ihm, während er an einem Besprechungstisch vorbeigeht; im Hintergrund die Kranlandschaft des Hamburger Hafens. Das Büro thront augenscheinlich über dem Hafen. Ein großer Bürotisch kommt ins Blickfeld, zu diesem Zeitpunkt vermuten wir schon, dass der Alte nicht für eine Besprechung hier ist, sondern hinter dem Tisch Platz nehmen wird. Der Tisch ist ein Thron, ein angemessener Platz, nicht bloß für einen Feldherren, sondern für einen Cäsaren erster Güte. Frederic March ist Gerlach.

Der Kameraschwenk stoppt, als der Mann den Tisch erreicht. In einem kurzen Moment der Ambivalenz wirft er seine Krankenunterlagen auf den Tisch und ruft wieder das Phantombild des gebrochenen, alten Mannes vom Anfang zurück ins Gedächtnis. Im nächsten Augenblick sammelt er sich, macht es sich auf seinem Sessel bequem und verstaut die Unterlagen in einer Schublade – aus den Augen, aus dem Sinn.

I Sequestrati di Altona von Vittorio De Sica I Sequestrati di Altona von Vittorio De Sica

Nach nunmehr drei Minuten Laufzeit wird der Alte erstmals in dieser Sequenz von einer anderen Figur in eine Konversation verwickelt. Ganz ohne gesprochene Worte hat De Sica bis dahin Frederic March als den Industriellen Gerlach präsentiert. Gerlachs rechte Hand Gelbert betritt nun das Büro, um seinem Chef die neuste Ausgabe des Spiegels vorzulegen; Gerlach ist am Cover – ein echter „Gigant von Deutschland“. Nun sind alle Zweifel beseitigt – dieser Mann hat Macht. Die Analogie von der griechischen Statue, die über dem Hamburger Hafen thront, hat im Nachhinein Berechtigung erfahren.

Doch irgendetwas stimmt nicht. Gerlach scheint über Gelberts Bericht verstört zu sein. Ist das bloß eine Nachwirkung der soeben vernommenen Nachricht über seinen baldigen Tod? Oder ist der Artikel im Spiegel womöglich weniger schmeichelhaft, als es das Titelbild suggeriert?

I Sequestrati di Altona von Vittorio De Sica I Sequestrati di Altona von Vittorio De Sica I Sequestrati di Altona von Vittorio De SicaGelbert schlägt die Zeitschrift auf und spricht über einen Mann namens „Franz“. Eine Fotografie eines jungen Mannes in deutscher Uniform ist zu sehen – „Franz Gerlach“ die Bildüberschrift, „Heldentod bei Smolensk“ die Bildunterschrift. Dieser Mann war bereits unscharf im russischen Schneegestöber der Vorspannsequenz zu sehen. Abermals schwenkt die Kamera hoch, und über der Fotografie aus der Zeitung wird dieselbe Fotografie eingerahmt am Tisch des alten Gerlachs gezeigt. Der Alte wirkt wieder gefasst und sogar ein leichtes, wenn auch müdes Lächeln zeichnet sich auf seinem Gesicht ab. Ein weiterer Krieger, einer, der den verlustreichen Kampf nicht überstanden hat. Nun wird die wahre Drastik der Situation deutlich. Der Erbe des sterbenden Herrschers weilt selbst nicht mehr unter den Lebenden. Warum wirkt der Alte dann aber so gefasst angesichts seines eigenen Endes? Wie bewahrt er seine innere Ruhe, und was entlockt ihm sogar ein Lächeln in Anbetracht dieser ungünstigen Situation?

Diese und weitere Fragen klärt der weitere Verlauf des Films, in der der Mann am Foto eine gewichtigere Rolle einnimmt, als der sterbende Patriarch. Trotz dieser qualitativen Verschiebung bleiben diese anfänglichen Fragen nach dem Verhältnis zwischen Mann und Firma, Vater und Sohn relevant.

Die Art und Weise, in der De Sica diese gebrochene Figur Stück für Stück zur majestätischen Führungspersönlichkeit aufbaut, beruht auf den eingangs erwähnten Eigenschaft des ihm eigenen Regiestils. Eindeutig, aber nicht aufdringlich, setzt De Sica Symbolik ein, gibt genug Informationen frei um die Ausgangslage zu beschreiben, verkauft sein Publikum aber nicht für dumm, sondern vertraut fast ausschließlich auf visuelle Elemente, um den Charakter und seine Position einzuführen. De Sica mag nicht zu den ganz großen Autorenfilmern gehören, aber ohne Zweifel verfügt er über beträchtliche handwerkliche Qualitäten und einen Sinn für visuelles Erzählen, und über die gleiche Noblesse und Leichtfüßigkeit, die ihn auch als Schauspieler auszeichnen.

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  74. Apple at this time has Rhapsody as an application, which is a suitable start, yet it is previously hampered via the inability toward shop domestically upon your iPod, and incorporates a dismal 64kbps bit selling price. If this adjustments, then it will considerably negate this advantage for the Zune, but the 10 audio per thirty day period will continue to be a huge moreover within just Zune Pass‘ want.

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  83. The Zune concentrates upon becoming a Transportable Media Player. Not a website browser. Not a sport machine. Probably inside of the long run it’s going to do even far better in people areas, however for by now it can be a Good route in the direction of organize and pay attention towards your audio and flicks, and is without the need of peer within that respect. The iPod’s pros are its world-wide-web browsing and programs. If people stable even more compelling, quite possibly it is your simplest decision.

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  85. Apple by now is made up of Rhapsody as an app, which is a Good start, nevertheless it is at present hampered via the inability towards retail store regionally upon your iPod, and contains a dismal 64kbps bit selling price. If this adjustments, then it will rather negate this benefit for the Zune, nonetheless the 10 audio for each month will however be a massive in addition in just Zune Pass‘ favor.

  86. This is taking a little bit extra subjective, but I substantially want the Zune Sector. The interface is colourful, includes additional flair, and some great features including ‚Mixview‘ that allow your self instantly perspective very similar albums, music, or other people related in the direction of what you happen to be listening in direction of. Clicking on one particular of all those will heart upon that merchandise, and an additional established of „neighbors“ will appear into check out, making it possible for your self in direction of navigate in excess of investigating by means of identical artists, tunes, or customers. Speaking of users, the Zune „Social“ is on top of that perfect fun, allowing for you locate other individuals with shared tastes and turning into buddies with them. Oneself then can listen in the direction of a playlist generated based mostly upon an amalgamation of what all your close friends are listening to, which is on top of that remarkable. Individuals apprehensive with privateness will be relieved in the direction of realize you can reduce the public from seeing your personal listening habits if yourself so consider.

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  90. If you are still on the fence: seize your preferred earphones, head down in direction of a Simplest Get and inquire in the direction of plug them into a Zune then an iPod and view which one particular appears far better towards on your own, and which interface will make your self smile extra. Then you may comprehend which is immediately for your self.

  91. Zune and iPod: Utmost us citizens evaluate the Zune toward the Contact, but following looking at how slender and amazingly little and light it is, I acquire it in the direction of be a instead distinctive hybrid that combines characteristics of equally the Contact and the Nano. It can be exceptionally vibrant and stunning OLED display is a little smaller sized than the contact screen, yet the participant by itself feels Really a bit scaled-down and lighter. It weighs above 2/3 as much, and is significantly scaled-down inside of width and peak, even though currently being accurately a hair thicker.

  92. The Zune concentrates upon getting a Portable Media Player. Not a world-wide-web browser. Not a video game machine. Perhaps within the long term it’s going to do even better within just individuals areas, yet for now it’s a exceptional path in the direction of prepare and listen in direction of your music and movies, and is devoid of peer in just that respect. The iPod’s pros are its website viewing and applications. If those reliable a lot more powerful, possibly it is your simplest decision.

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  94. This is taking a little bit extra subjective, nevertheless I considerably like the Zune Market place. The interface is colorful, contains added flair, and some neat capabilities which includes ‚Mixview‘ that make it possible for by yourself suddenly look at similar albums, music, or other consumers identical toward what you might be listening towards. Clicking on a single of all those will centre on that products, and yet another fastened of „neighbors“ will appear into belief, enabling yourself in direction of navigate more than studying by means of identical artists, audio, or buyers. Conversing of consumers, the Zune „Social“ is way too exceptional exciting, letting on your own discover other folks with shared choices and turning out to be good friends with them. Yourself then can hear to a playlist developed centered on an amalgamation of what all your good friends are listening in direction of, which is much too thrilling. Those apprehensive with privacy will be relieved to realize on your own can avoid the community versus viewing your individual listening practices if your self therefore make your mind up.

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  96. This is turning out to be a little bit extra subjective, yet I much prefer the Zune Marketplace. The interface is colourful, has even more flair, and some awesome characteristics such as ‚Mixview‘ that permit on your own instantly view similar albums, music, or other buyers identical in the direction of what you happen to be listening toward. Clicking upon one of people will middle upon that products, and another fastened of „neighbors“ will appear into look at, allowing oneself toward navigate in the vicinity of exploring as a result of equivalent artists, new music, or buyers. Conversing of people, the Zune „Social“ is too very good enjoyment, making it possible for on your own obtain other folks with shared preferences and turning out to be buddies with them. You then can hear to a playlist produced based mostly on an amalgamation of what all your close friends are listening toward, which is too interesting. Those people apprehensive with privateness will be relieved in direction of know you can protect against the public towards looking at your unique listening habits if by yourself therefore come to a decision.

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  102. Zune and iPod: Optimum folks compare the Zune to the Contact, yet once observing how thin and remarkably very low and light-weight it is, I try out it in direction of be a as a substitute special hybrid that brings together attributes of both the Touch and the Nano. It really is very colourful and lovely OLED show is a bit more compact than the touch screen, yet the player alone feels Really a bit scaled-down and lighter. It weighs around 2/3 as much, and is significantly more compact in width and height, whilst becoming simply just a hair thicker.

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  105. If you are however on the fence: grab your preferred earphones, brain down toward a Most straightforward Acquire and check with to plug them into a Zune then an iPod and check out which a single seems much better in the direction of your self, and which interface can make your self smile much more. Then you may realize which is straight for on your own.

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