Il Cinema Ritrovato Tag 5: Feuer, Wasser und die schwarze Stadt

Das Cinema Ritrovato ist ein cinephler Vergnügungspark, in dem man von Vorführung zu Vorführung taumelt wie ein kleines Kind, stets begierig nach der nächsten Attraktion, ganz egal, ob einem die letzte gefallen hat oder nicht, ob der Verstand schon in den Seilen hängt und um Erbarmen bettelt, ob man überhaupt noch sieht, was sich auf der Leinwand abspielt – die Augen wollen immer mehr, verzaubert von der Überfülle des Programms stürzen sie uns in einen hemmungslosen Sichtungsrausch, der mitreißt und verdattert wie die Karussell-Szene in Jean Epsteins Coeur fidele, eine dekadente Kinoverkostung, bei der jeder von allem probieren will, aus Wollust und Neugierde, aber auch aus Angst, dass es irgendwann keinen Nachschlag mehr gibt. Denn der Zirkus ist nicht ewig in der Stadt, die Zeit ist beschränkt, und die zahllosen Titel im Katalog buhlen allesamt lautstark um die Gunst potentieller Zuschauer: Nimm mich! Hereinspaziert! Das hast du so noch nicht gesehen! Nahezu jedes Screening verspricht, etwas Besonderes bereitzuhalten. Ein eben erst geborgener Schatz aus den hintersten Ecken eines Nationalarchivs! Der Technicolor-Vintage-Print eines unumstrittenen Klassikers! Die frisch restaurierte Fassung eines verkannten Meisterwerks, mit Live-Orchesterbegleitung und Expertenvorrede! Viele Sektionen locken mit dem Reiz des Unbekannten: Alternative Filmgeschichten, verstaubte Perlen, vergessene Talente. Und auch wenn sich der Budenzauber zuweilen in Schall und Rauch auflöst und man den Saal mit der Frage verlässt, ob das eben Gesehene wirklich Gedenken verdient hat, auch wenn man das wachsende Übergewicht digitaler Projektionen beanstanden kann, so träumt man doch jede Nacht von der Utopie, das Programm in seiner Gesamtheit verschlingen zu können – das Kino ist hier nach wie vor ein fremder Kontinent, der danach schreit, entdeckt zu werden.

Hier wüten auch Stürme: Etwa am Ende von William Wylers A House Divided , als der ganze aufgestaute Weltenhass der titanischen Vaterfigur sich imposant zu tosenden Wassermassen auftürmt. Ein sonderbares, aber ausgesprochen eindringliches Psychodrama. Ungewöhnlich das Setting: Ein Lachsfischerdorf im Nordwesten Amerikas. Das Leben ist hart. Die naturalistischen Arbeitsalltagsaufnahmen sorgen dafür, dass man das wirklich glaubt, vielleicht sogar spürt, selten wähnt man sich in Studiokulissen. Über allem thront in einem Haus auf einem Hügel Seth Law (Walter Huston, der Vater von John, damals vor allem als Theaterschauspieler bekannt). Ein großer Mann, dessen Wort Gesetz ist für seine Fischergesellen und vor allem für seinen sensiblen Sohn (Kent Douglass), der sich nichts sehnlicher wünscht, als diese öde Gegend zu verlassen. Doch der Vater lässt ihn nicht ziehen. Der Tod der Mutter, mit deren Begräbnis der Film beginnt, als wäre es der Auftakt zu einem Requiem, hat ihn nur noch härter gemacht. Da hat sich jemand seiner Autorität entzogen, ohne ihn zu fragen. Da ist nun ein Verlust, der ihm zu schaffen macht, aber er darf sich keine Blöße geben. Alle müssen wissen, dass seine Souveränität und Männlichkeit intakt ist. Houston spielt Law als jemanden, für den die Virilität zur Neurose geworden ist. Es gibt eine Reihe von starken Szenen, in denen seine Selbstbestätigungslust sich auf brutale Weise Bahn bricht. Ein rabiates Wrestling-Match in eine Bar, später einen ausgelassenen irischen Hochzeitstanz. Law bestellt sich eine Frau aus dem Katalog, zunächst nur, weil er jemanden zum Kochen braucht, aber weil die Dame jung und hübsch ist, hofft er auf einen zweiten Frühling. Als er herausfindet, dass sie seinem Sohn zugetan ist, bricht ihm dass die Beine – buchstäblich. Jetzt kriecht er in stolzer Erbärmlichkeit über den Boden und droht weiterhin, als wäre nichts passiert. So dringlich ist Hustons Performance, dass er selbst im Rollstuhl seine Mitschauspieler in den Schatten stellt, und nie als Bösewicht erscheint, sondern stets nur als durch und durch Verzweifelter. Und dann kommt das unglaubliche Finale, purer Expressionismus, eine letzte Konfrontation in strömendem Regen, Flucht der jungen Liebenden aufs Meer, dessen finster-furiose Wogen selten so bedrohlich wirkten wie hier, und als die Wolken sich verziehen, hat sich der Ödipus-Komplex von selbst aufgelöst.

a-house-divided-1931

Was liebt das Kino mehr, Wasser oder Feuer? Die Flammensymphonie, die Ebrahim Golestan in seinem Kurzdokumentarpoem Yek atash (A Fire) inszeniert, ist jedenfalls nicht weniger überwältigend als Wylers wilde Wellengänge. Die fragmentarische Aufzeichnung der Löschung einer entzündeten Ölquelle im Iran, 1958. Der Hitzegeysir schießt in die Luft, und die Leinwand lodert lichterloh, man weiß sofort wieder, warum DCPs nie ein Ersatz sein können für Filmkopien. Man beginnt zu schwitzen, und nicht nur wie in Bologna üblich, aufgrund der schlechten Belüftung und mörderischen Temperaturen im Saal. Golestan hat Respekt vor der mühsamen, langwierigen Prozedur und ihren ausführenden Organen, filmt jeden Arbeitsschritt mit der gleichen empathischen Aufmerksamkeit. Aber ebenso scheint er sich der Faszination des Feuers nicht entziehen zu können, dem flirrenden Farbspektakel, dessen glühende Turbulenzen die wüste Umgebung verfremden, so dass man sich hin und wieder in einer rostroten Mad-Max-Marslandschaft wiederfindet.

Golestan ist ein Autor, Produzent und Filmemacher, der das prärevolutionäre Kino Irans entscheidend mitgeprägt hat, das Festival widmete ihm eine kleine Schau. Unter anderem zeichnet er mitverantwortlich für Forough Farrokhzads legendären Khaneh siah ast (The House is Black), der hier in einer hervorragenden Kopie zu sehen war, wenngleich ohne Untertitel. Farrokhzad und Golestan verband eine private und professionelle Beziehung. In seinem filmischen Hauptwerk Khesht o ayeneh (Brick and Mirror), dessen restaurierte Fassung heuer (digital) in Bologna gezeigt wurde, spielt sie eine kleine Rolle, legt als verschleierte Frau einem Taxifahrer ihren Säugling auf die Rückbank, fordert in so heraus, Verantwortung zu übernehmen. Das Haus ist in Brick and Mirror nicht schwarz, dafür aber die Stadt. Am Anfang fährt der Taxifahrer Hashem (Zackaria Hashemi) durch ein dunkles Teheran, im Radio läuft ein Hörspiel, dessen (von Golestan selbst eingesprochene) mythologische Menetekel sich über die urbanen Nachtbilder legen wie Travis Bickles Voice-Over über New York in Taxi Driver. Auf der Suche nach der Mutter des Babys irrt Hashem durch freudlose, schwarz-weiße Cinemascope-Gassen, trifft Verlorenen und Verrückte in einem Labyrinth der Hoffnungslosigkeit. Dann landet er in einem verrauchten Café, wo süffisante Intellektuelle Schaum schlagen und Dampf plaudern, ohne Perspektive oder wahre Leidenschaft. Schließlich nimmt er das Kind mit zu sich nach Hause, wo seine Geliebte wartet. Sie will es adoptieren, doch er sträubt sich, er kann nicht, er hat Angst vor den Nachbarn, deren böse Blicke hinter den Vorhängen lauern. Es ist eine Atmosphäre vager Angst, lähmender Unentschlossenheit und verhinderter Nähe, die sehr stark an Antonioni erinnert, auch wenn die politische Allegorie hier viel deutlicher zum Vorschein kommt. So wie das Private ins Soziale gebettet ist, ummantelt Golestan eine ausgedehnte, klaustrophobische Sequenz in Hashems Apartment, in dem das Paar vergeblich versucht, sich zu verstehen (der Abwechslungsreichtum der Auflösung dieser Passage ist beeindruckend), mit kafkaesken Vignetten aus dem Leben der Marionetten, Gesellschaftsporträtminiaturen, die allesamt Orientierungslosigkeit signalisieren. Kulminationspunkt dieser befremdlichen Bestandsaufnahmen ist eine Szene gegen Ende des Films, in der Hashems Geliebte (die im Übrigen als Einzige an die Möglichkeit einer Befreiung glaubt), ein Waisenhaus besucht. Golestan stürzt sich in eine Montage der vergessenen Kinder in ihren Krippen, ihrer ungelenken Bewegungen und formlosen Laute, wippenden Köpfe und schnappenden Hände, eine kaputtes Bildgedicht zwischen Groteske und Entsetzen, Symbolismus und Sinnlichkeit, das schließlich in einer wuchtigen Kamera-Rückfahrt mündet, in deren Trägheit sich die tiefste Trauer offenbart.

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  62. Apple at the moment is made up of Rhapsody as an application, which is a suitable start, nevertheless it is at present hampered by the inability in direction of retail outlet locally on your iPod, and incorporates a dismal 64kbps little bit rate. If this variations, then it will somewhat negate this usefulness for the Zune, however the Ten new music per month will nevertheless be a big moreover in just Zune Pass‘ prefer.

  63. I do trust all the ideas you’ve introduced for your post. They’re really convincing and can certainly work. Still, the posts are very short for beginners. Could you please prolong them a little from next time? Thank you for the post.

  64. If you might be however on the fence: grab your favorite earphones, thoughts down towards a Least complicated Purchase and ask in direction of plug them into a Zune then an iPod and view which just one seems far better in the direction of oneself, and which interface can make oneself smile even further. Then you’ll notice which is straight for oneself.

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