Il Cinema Ritrovato 2015: Ruggles of Red Gap von Leo McCarey

Ruggles bleibt gerne im Hintergrund. Er ist der Diener des Earl of Burnstead und in dieser Funktion sind Mitglieder seiner Familie schon seit Generationen im Einsatz. Ruggles ist pflichtbewusst und loyal und weiß um die Wünsche seines Herrn, noch bevor dieser sie äußert. Kurzum, Ruggles ist ein Meister seines Metiers und fühlt sich sehr wohl in seiner Rolle als Mensch zweiter Klasse. Die Qualitäten des britischen Butlers sind auch der neureichen Amerikanerin Effie Floud nicht verborgen geblieben, die während ihrer Kulturreise in Paris mit dem Earl of Burnstead Freundschaft geschlossen hat. Effie, an finanziellen Mitteln mangelt es ihr nicht, möchte die sagenumwobenen Früchte des „besseren“ Lebens naschen, doch ihre formale Bildung lässt zu wünschen übrig und ihr Mann Egbert, der sich eher für die Bier- und Weinkultur interessiert, ist auch keine große Hilfe. In einer Pokerrunde unter Freunden bringt sie den Earl of Burnstead schließlich dazu seinen Diener als Wetteinsatz zu bieten – Mrs. Floud schlägt zu und ergattert ihren Gewinn, der freilich erst am nächsten Morgen beim Frühstück von seinen geänderten Lebensverhältnissen erfährt. Der Earl, noch arg verkatert von der durchzechten Nacht, versucht Ruggles die Neuigkeiten schonend beizubringen, versagt dabei allerdings auf voller Länge. Als dieser aus den kryptischen Formulierungen seines Herrn endlich die richtigen Schlüsse zieht, nimmt er das Urteil trotz alledem mit Fassung – dass er wie ein Leibeigener einfach so als Wetteinsatz verloren und gewonnen werden kann, scheint ihn gar nicht weiter zu stören, sondern eine Selbstverständlichkeit zu sein.

Charles Laughton als Ruggles

Die Prämisse von Ruggles of Red Gap klingt simpel: vornehmer Brite kommt in amerikanisches Provinznest und stellt die dortigen Verhältnisse auf den Kopf. Filme dieser Art sind keine Seltenheit und werden mit unterschiedlicher Qualität und Würde seit Anbeginn des Mediums filmisch verarbeitet, in Theater und Literatur hat das Sujet ebenfalls lange Tradition – Ruggles of Red Gap basiert auf einem Roman aus den 1910er Jahren. Trotz der bekannten Motive und Figuren ist Ruggles of Red Gap ein ungewöhnlicher Film und das ist dem kongenialen Zusammenspiel von Hauptdarsteller Charles Laughton und seinem Regisseur Leo McCarey geschuldet. McCarey seines Zeichens im Produktionsstudio von Hal Roach groß geworden, hat in den zehn Jahren vor Ruggles of Red Gap mit dem who-is-who der Slapstickkomödie gearbeitet. Er war es, der Stan Laurel und Oliver Hardy erstmals als Duo auftreten ließ. Nebenbei realisierte er Filme mit Harold Lloyd, Charley Chase und Max Davidson. Anfang der 30er Jahre wechselte er zum Langfilm und dirigierte die Marx Brothers im grandios-genialen Chaos von Duck Soup, dem heute wohl bekanntesten Film der Truppe.

Charles Laughton hingegen war kein Filmkomiker. Ganz im Gegenteil, der korpulente Brite war und ist berühmt für seine Rollen in Kostümfilmen und Shakespeare-Stücken. Ein distinguierter Gentleman, Oscarpreisträger und einer der meistgeschätzten Akteure seiner Zeit. Im Jahr 1935 war er neben seiner Rolle als Ruggles auch als Captain William Bligh in Mutiny on the Bounty und als Inspector Javert in Les Misérables zu sehen. Das sind große Rollen, aber ist das auch die große Kunst? Die kleine Burleske, in der Laughton einen vornehmen aber warmherzigen Butler spielt, läuft all diesen großen Produktionen den Rang ab. Hier ist nicht das rezitieren großer Monologe gefragt und auch die großen Emotionen sind in Ruggles of Red Gap fehl am Platz. Dafür sind feine Nuancen gefragt, vor allem zu Beginn wenn der stocksteife Ruggles auf das unangemessene Verhalten der Amerikaner zu reagieren hat, aber seiner Abneigung keinen Ausdruck verleihen darf. Mit einem leichten Zucken der Gesichtsmuskeln vermag es Laughton das irritierte Innenleben des Dieners nach außen zu kehren, ohne dabei Haltung zu verlieren und aus der Rolle zu fallen (im doppelten Sinne). In McCarey fand er den idealen Partner für dieses thespische Kunststück, denn dieser vereitelt nicht die große Wirkung von Laughtons kleinen Gesten, indem er sie mittels Großaufnahme oder anderer inszenatorischer Tricks zum Zentrum des Geschehens macht. Ganz im Gegenteil, wie McCarey es im Stummfilm gelernt hat, findet Laughtons Spiel in der Halbtotalen, und wie es sich für einen Diener gehört, im Hintergrund, statt. Er inszeniert Laughton, wie die großen Komiker, mit denen er seine Lehrjahre verbracht hat und vertraut auf sein dort erworbenes Gespür für das richtige Timing eines Gags.

Charles Laughton in Ruggles of Red Gap

Mit Fortdauer des Films wandelt sich Ruggles jedoch, anders als in den Klassikern der Slapstickkomödie scheitert er nicht an den Herausforderungen, mit denen er sich konfrontiert sieht, sondern erkennt im Land der unbegrenzten Möglichkeiten, dass er sein Dienerdasein aufgeben möchte, um fortan sein eigener Herr zu sein. Die lockere Burleske wandelt sich zum recht plumpen Lehrstück in Sachen Demokratie und Menschenrecht. Das große Understatement, dass Laughton zu Beginn an den Tag legte wird durch großen Pathos ersetzt: er rezitiert die Gettysburg-Rede von Abraham Lincoln und wirft zum Abschluss einen der „besseren Herren“ aus dem Restaurant, mit dem er seinen Lebensunterhalt zu verdienen gedenkt. Ab und an blitzt noch das komische Talent des Gespanns durch, doch die komischen Momente erster Güte wurden der Entwicklung der Figur geopfert. Doch das verzeiht man diesem Film nur zu gern, denn anders als so viele Filme, die ähnliche Dramaturgien vorweisen, bleibt Ruggles of Red Gap seiner Linie treu, ist vergnüglich und erhebend und passt sich somit nahtlos in die Reihe der McCarey-Filme der großen Herzen ein.

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