Il Cinema Ritrovato 2017: Mater dolorosa von Abel Gance

Unfassbar zwischen Schatten und Licht oszillierend fotografiert von einem blutjungen Léonce-Henri Burel, der später unter anderem mit Robert Bresson arbeiten sollte, ist Mater dolorosa von Abel Gance vor allem ein Film, der sich von dem Abel Gance, der die Geschichte überlebt hat, unterscheidet. Mater dolorosa ist ein geradliniges, zum Teil arg konstruiertes Melodram, in dem es keine virtuosen technischen Errungenschaften oder Dynamisierungen gibt, der aber derart sauber gemacht ist, dass es unvermeidbar scheint, dass dem Filmemacher in seiner eigenen Perfektion langweilig werden würde. Ein großer Publikumshit in Frankreich und den USA erzählt der Film von einer Frau, die eine Affäre mit dem Bruder ihres Mannes hat und dessen Eifersuchtsstrafe, als er nach dem Tod seines Bruders zwar erfährt, dass es einen anderen Mann gab, aber eben nicht, was für ein Mann das war. Die Strafe besteht darin, dass er das gemeinsame Kind vor seiner Mutter versteckt und ihr nichts über den Gesundheitszustand des Jungen sagen will, bis sie sagt, wer der andere Mann ist.

Die Szenen mit dem verspielten Kind gehören zum besten, was es im Film zu sehen gibt: Einmal setzt er sich nackt in ein Aquarium und ein andermal reitet er nackt mit einem Esel in das Zimmer seines Vaters. Dabei blickt er immer wieder voller Freude und schelmisch in die Kamera. Es geht um die Liebe zu einem Kind, die aus der ehelichen Krise zu befreien vermag. Was aber wirklich bleibt aus diesem Film ist die Dunkelheit und das Licht: Figuren verschwinden nicht hinter Objekten, sondern einfach im Schwarz des Hintergrunds, ihre Gesichter sind voller Lichtspitzen und der melodramatische Konflikt erzählt sich in seiner Emotion vor allem über den Stil. Burel arbeitet an sämtlichen großen Filmen von Gance, sei es bei J’accuse, Napoléon oder La Roue, dessen famoses Intro ebenfalls in Bologna zu sehen war.

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