Final Destination: De nåede færgen von Carl Theodor Dreyer

Zwischen 1946 und 1954 führte Carl Theodor Dreyer Regie bei einigen dokumentarischen und fiktionalen Erziehungsfilmen, die von Danks Kulturfilm und Ministerienes Filmudvalg in Auftrag gegeben wurden. Diese Kurzfilme sicherten dem Filmemacher in jener Zeit sein Einkommen. De nåede færgen (They Caught the Ferry) aus dem Jahr 1948 gilt gemeinhin als bedeutendster und bester dieser Kurzfilme, ein Film, der sein Statement für eine Geschwindigkeitsbegrenzung (die es 1948 noch nicht gab in Dänemark) verpackt in ein zynisches Spiel mit dem Schicksal und dabei mit gewissen Verfremdungseffekten arbeitet.

Der Film beginnt mit der majestätischen Ankunft einer Fähre. Ihre behäbige Schwere fühlt sich bald an wie Ungeduld, denn auf dem Schiff lernen wir ein junges Pärchen mit einem Motorrad kennen. Sie in kühlem weiß, wortkarg mit einem Kopftuch, das später im Wind flattern wird und er mit der Überlegenheit männlicher Gefühle, Lederjacke und schulterzuckende Ignoranz. Sie unterhalten sich mit dem Kapitän und erzählen ihm, dass sie die Fähre in Nyborg erwischen müssen. Er sagt ihnen, dass dies eigentlich unmöglich sei. Sie hätten 45 Minuten Zeit und es wären 70 Kilometer auf einer kurvigen Straße. Er blickt ihn kaum an, ist sich sicher, dass er es schaffen wird. Es folgen herausragende Sekunden im Film. Die Kamera blickt von der Fähre zur nahenden Anlegestelle. Die Motoren laufen, man spürt die Bedrohung des nahenden Rennens gegen die Zeit. Dreyer erklärt selbstverständlich nicht, warum das Pärchen die Fähre erwischen muss. Es spielt keine Rolle, man spürt von Anfang an, dass es keine Rolle spielt. Wie in Ordet oder La passion de Jeanne d’Arc, den großen Werken des Filmemachers, liegt eine erhabene und unumgängliche Luft über dem Geschehen, ein Gefühl der Unumgänglichkeit.

They caught the ferry2

Irgendwann legt die Fähre dann an und das Motorrad fährt mit den anderen Fahrzeugen los. Die Montage der Geschwindigkeit erinnert ein wenig an einen Eisenstein-Film auf Diät. Dreyer schneidet immer wieder auf Reifen oder den Tacho. Er verwendet häufig eine subjektive Kamera und benutzt das Wackeln der Kamera, um einen Eindruck der Geschwindigkeit zu geben. Wie hart Dreyer an diesem Eindruck von Geschwindigkeit gearbeitet hat, verdeutlichen einige wilde Episoden vom Dreh. Kameramann Jørgen Roos erzählt diese auffällig gerne. Zum einen habe es einen Unfall bei einer Szene mit Überholmanöver gegeben, weil Dreyer wirklich alles aus den Beteiligten herausholen wollte. Roos wäre am Straßenrand gelegen und hätte kurz das Bewusstsein verloren. Da hörte er Dreyers schnelle Schritte ankommen, der Filmemacher hatte an der nächsten Kreuzung auf die Crew gewartet. Aber sein Interesse habe nicht der Gesundheit seines Kameramannes gegolten, sondern der Unversehrtheit des Kameramagazins. Ebenso erzählte Roos, dass Dreyer eigentlich einen Kriegsgefangenen als Motorradfahrer besetzen wollte unter der Bedingung, dass dieser freigesprochen werden würde, sollte er den Dreh überleben. Dreyer wollte den Crash unbedingt aus einer Totalen filmen. Dieser Anspruch erinnert ein wenig an Erich von Stroheim, der alles versuchte, um am Ende von Greed den Messerstich tatsächlich passieren zu lassen. Es ist dieses Realismusstreben jenseits jeglicher Proportionalität, die Filmemacher wie Dreyer oder Von Stroheim auszeichnet. Beiden wurde ihr Wunsch nicht erfüllt. Dreyer musste mit dem professionellen Motorradfahrer Joseph Koch vorlieb nehmen und den Unfall aus einer subjektiven Perspektive drehen. Dennoch habe ich mal nachgeschaut, ob die angegebene Reise von Assens nach Nyborg nach diesen Parametern Sinn macht und das tut sie tatsächlich, obwohl die 45 Minuten selbst heute nicht machbar wären:

Assens Nyborg

Aber das eigentlich entscheidende passiert zuvor. In einer Ortschaft biegt das Pärchen an einer Kreuzung falsch ab. Es fällt schon zuvor auf, dass die Kamera häufig früher an einem Ort ist als die Protagonisten, aber was sie jetzt macht, öffnet eine ganz neue Dimension. Statt dem Motorrad zu folgen, bleibt sie an der Kreuzung stehen. Das zuvor überholte Auto (ein Leichenwagen?) in bedrohlichem Schwarz passiert die Kamera und folgt der richtigen Route. Spätestens in dieser Bewegung spürt man, dass es etwas erbarmungslos Überlegenes in diesem Film gibt. Es ist als wären die Protagonisten gefangen in der Botschaft, die Dreyer vermitteln will. Ein falscher Weg, ein Umgehen des Schicksals ist unmöglich. Die Kamera weiß da mehr als der Motorradfahrer, der sich nach einem Schnitt umblickt, als würde er die Kamera an seiner Seite vermissen. Er dreht um. Dreyer schneidet zurück in die Einstellung der wartenden Kamera, die das Tempo wieder aufnimmt kurz bevor wir den Motorradfahrer sehen können. Sie folgt ihm weiter. James Leahy hat über diesen Moment geschrieben: “Fate may determine our lives; on the other hand, it may only be a cinematic construction.” Dem ist eigentlich nicht viel hinzuzufügen, denn ein solcher Moment existiert tatsächlich gleichzeitig in der unheimlichen Stimmung einer Vorbestimmung und der Aufmerksamkeit für das Medium, das diese Vorbestimmung festhält (das stotternde Stoppen und Anfahren der Kamera inklusive). Auf der anderen Seite ist dieses Kamerawackeln auch verwandt mit dem Realismusstreben von Dreyer, denn er leugnet nicht, was passiert ist. Dieses Wackeln ist also verwandt mit dem Dollygeräusch, das in frühen Renoir-Tonfilmen zu hören ist oder den Kamerablicken bei Jean Rouch.

Selbstverständlich erreichen die beiden die Fähre, den Fährmann des Todes jedoch, der für das skandinavische Kino so prägend war. De nåede færgen transportiert etwas jenseits seiner propagandistischen Message. Es schreibt sich in das Gefühl und die Konstruktion der Bilder ein und ist nicht mehr aus unseren Augen zu entfernen, es geht dabei um eine Angst, der wir im Film nicht ausweichen können, die wir nicht verdrängen dürfen bis wir in Holzsärgen auf dem Meer treiben und von einer Fähre aus gefilmt werden.

Carl Theodor Dreyer

Carl Theodor Dreyer

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