Land of the Dead: Over the Red Top: Carrie und Suspiria

Am zweiten Tag wartete das Österreichische Filmmuseum im Rahmen seiner “Land of the Dead” Retrospektive mit zwei Filmen, die ich zu meiner Schande bis dato noch nicht gesehen hatte: „Carrie“ von Brian De Palma und „Suspiria“ von Dario Argento. Die Programmierung dieser beiden Filme nebeneinander entwickelte eine sehr eigenwillige Dynamik, die voller Spuren des Genres war und mich dennoch heillos überforderte. Das liegt schlicht daran, dass beide Filme mit ihrer Over-the-Top Brachial-Stilisierung einem derart manipulativ ins Gesicht schreien, dass ich als Fremder des Horrorfilms irgendwann Wahrnehmungsprobleme bekam. Aber vielleicht zielen die Filme auch genau darauf. Ich werde wieder einige allgemeine Betrachtungen zum Horrorgenre und dessen Wirkung auf mich anstellen.

Weiches/Hartes Rot

Suspiria

Ein zartes und hartes rot (bei De Palma ist es manchmal mehr rosa als rot) beherrscht beide Filme. In „Carrie“ beginnt das schon bei der Haarfarbe der Protagonistin und vieler Protagonisten (Romain Gavras was watching…) und geht weiter in die schulischen Räume und finden ihren Höhepunkt natürlich im Schweineblut, das in der Prom-Night über die junge Frau, die im Inbegriff war, sich zu finden, geschüttet wird und eine übersinnliche Katastrophe auslöst. Dieses Blut findet sich bereits in der ersten Szene, in der De Palma den Zuschauer von Shampoo-Erotik in einen kurzen Moment des Schauderns wirft, bevor er sein soziales Mobbing-Thema im Film platziert. Carrie White, erzogen von einer manisch katholischen Mutter, hat ihre Menstruation bekommen und weiß nicht damit umzugehen. Sie ist ein Mobbingopfer, eine Außenseiterin. Aber niemand ahnt, dass sich mit ihrer Menstruation auch dunkle Kräfte in der werdenden Frau, die von einer tollen Sissy Spacek gespielt wird, entstehen. Es gibt keinen diegetischen Grund für die Dominanz von rot hier, es ist eine Frage der Stimmung und des Stils. De Palma taucht fast seinen gesamten Film in dieses weiche rot und unterstützt sich mit seiner Vorliebe für Split Diopter Lenses, die es ihm ermöglichen das Staubkorn im Bildvordergrund und den Komparsen in der hintersten Ecke scharf zu halten. (In seinem „Blow Out“ perfektionierte De Palma dieses Vorgehen). Dabei schwebt seine Kamera genauso weich wie die rote Farbe. Die virtuosen Fahrten durch die Räume, die wohl in der Prom-Night ihren definitiven Höhepunkt erlebt als die Kamera zunächst immer schneller um das tanzende Paar kreist (auch diese Einstellung sollte De Palma in „Blow Out“ perfektionieren) und dann den Spuren des Schweinebluts folgt, um den Suspense bis zum Anschlag zu spannen, sind der stilistische Höhepunkt des Films.

Carrie3

In beiden Filmen wird das Rot weggewischt. Carrie badet nach ihrem Blutbad in Wasser (zuvor eine wunderschöne Einstellung ihrer Füße neben dem blutdurchtränkten Handtuch) und Suzy, die Protagonistin in Dario Argentos „Suspiria“ versucht den merkwürdigen Wein, der ihr in der mysteriösen und gefährlichen Tanzschule jeden Abend gebracht wird, in das Waschbecken zu schütten. Allerdings klebt die Flüssigkeit mehr an den Rändern des Waschbeckens, als darin zu verschwinden. Bei Argento steht ein surrealer Bilderreigen, der sich immer wieder neu findet und dennoch einer inneren Logik zu gehorchen scheint, über dem Gesamtrot von De Palma. Natürlich schulden beide Filmemacher ihren Abflussfetisch Alfred Hitchcock, der das Ganze in „Psycho“ ja bekanntermaßen ohne die Farbe selbst gemacht hat. Dennoch ist dieses Bild bei ihm eindrücklicher rot und ich beginne ein wenig zu verstehen, warum Lav Diaz sich auch Farbfilme gerne in Schwarz/Weiß ansieht. Ansonsten gibt es bei Argento eine Menge Kunstblut, das sich in meiner Erinnerung wie laute Spritzer über den Film verteilt. Und es gibt einen Red Room, einen Übungsraum für die jungen Tänzerinnen, der während meiner Betrachtung die Prom Night heraufbeschwört. Die auffälligste Verwendung von Farbe in „Suspiria“ und vor allem von Rot findet sich jedoch in einer Art Horrormotivik, die Wände beleuchtet wie normal nur Filmmusik agiert. Der Horror scheint sowieso die ganze Zeit aus dem Film selbst zu entstehen und nicht aus seiner Geschichte. Es sind Lichter im Hintergrund, Lichter im Vordergrund, die verstörende Kultmusik der Goblins, eine plötzliche Supertotale, ein POV-artiges Heranfahren, die Dunkelheit…J. Hobermann hat zurecht bemerkt, dass der Film mehr Sinn für das Auge als für das Gehirn macht. Jedenfalls tauchen einzelne, farbige Spotlights an den Wänden auf im Moment des Horrors. So tanzen rote Schatten auf den angstgefrorenen Gesichtern. Irritierenderweise versetzen mich solche Szenen nicht in einen Zustand des Horrors sondern holen mich aus dem Horror heraus, denn ich sehe plötzlich einen jungen Italiener hinter der Kamera, der das Licht anschaltet. Einen viel stärkeren Horroreffekt erzielt beispielsweise Chantal Akerman mit einem ähnlichen Einsatz einer einzelnen Lichtquelle in „Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles“. Ein nur vielleicht gewagter Vergleich. Die Künstlichkeit der unterschiedlichen expressionistischen Farbpalletten erzeugt ein Meta-Gefühl für das Genre. Licht und Dunkelheit und die unnatürliche Kraft von Farben sind voller Bedeutung für den Horror. Man kann „Suspiria“ wohl am besten als Farbflut bezeichnen. Ein spezieller Technicolor-Entwicklungsprozess ermöglichte Argento ein dreigeteiltes Farbmuster aus Grün, Rot und Blau. Eine mögliche Interpretation liegt in der psychedelischen Hexenkraft, die den Film ab der Ankunft in der Tanzschule heimsucht.

Suspiria3

In diesem Haus, dass immer wieder an das Schloss in Jean Cocteaus „La Belle et la Bête“ erinnert, spielen auch beim Film selbst die Farben verrückt. Doch dort wo Cocteau einen ausgeprägten Schönheitssinn aufweist, ist Argento ein Holzhammer, da seine nicht zu leugnende Sensualität nicht aus den Figuren und ihren Bewegungen kommt, sondern aus der schieren Überfüllung. Einen Schönheitscredit vermag man Argento noch für die Zulawski-artige Betonung der Farbe hinter den Pupillen geben (wobei Zulawski sich da womöglich von Argento hat inspirieren lassen…). Die Überfüllung entsteht natürlich auch durch die Doppelprogrammierung zweier Filme, die ganz bewusst over the top gehen, die hysterisch schreien und den Horror in seine expressivsten Art im Kino explodieren lassen. Ich habe den Eindruck, dass der Ton in „Suspiria“ ein wenig lauter als gewöhnlich ist im Filmmuseum. Das erscheint mir etwas unnötig, weil ich schon bei Filmen im Haus gesessen bin, bei denen jeder Ton zählte und erzählte, die fast zu leise gespielt wurden und nun dieser sowieso schon laute Film, bei dem es oft schlicht darum geht, dass es verstörend und laut ist, aber nicht um die Nuancen im Ton, so gespielt wird, dass ich alle fehlenden Nuancen höre. Natürlich gehört sich das trotzdem so, weil Argento eben laut gehört. Die euphorischen Argento-Jünger im Kino würden mir da Recht geben. Das bewusste Über-das-Ziel-hinaus-schießen bewirkt auch ein hohes komödiantisches Potenzial. Vor allem bei „Carrie“ sind viele Schmunzler und Lacher dabei, die sich aus dem Verhalten der Figuren im Verhältnis zur Kamera vollzieht. De Palma zeigt sich als wunderbarer Beobachter von stilisierten Teenage-Klischees. Dagegen entstehen Lacher bei Argento vor allem aus harten Schnitten nach Schockern. Insbesondere der Schnitt auf bayrische Schuhplattler hat es in sich. Außerdem entsteht ein Humor aus der Irrationalität des Verhaltens der Figuren (die Nonchalance mit der Suzy ihr Getränk trinkt, die Gespräche unter den Tänzerinnen) und der Absurdität mancher Brutalität wie die Attacke einer Fledermaus oder den merkwürdigen Blicken des rumänischen Bediensteten. Dasselbe gilt natürlich auch für den Einsatz von Farbe, der eben einem expressionistischen statt einem natürlichen Ideal folgt.

Suspiria2

Während rot bei De Palma eine weiche Farbe ist, erscheint sie bei Argento hart. Die Kamerabewegungen von Argento sind deutlich abrupter, er ist getriebener als der souveräne De Palma, der über der Welt und seinem Publikum schwebt. Das bedeutet nicht, dass Argento nicht weiß, was er tut, sondern lediglich, dass er mehr an den Horror glaubt und De Palma mehr an sich selbst und Alfred Hitchcock.Rot ist in beiden Filmen eine Farbe des Horrors. Allerdings ist die Farbe sowohl bei De Palma als auch bei Argento von außen auf die Filme geklatscht. Sie ist ein offensichtliches Stilmittel und kommt nicht aus der Seele der Figuren, aus dem Horror in ihnen selbst. Das liegt zum einen an der Exploitation-Nähe des Blutes selbst und zum anderen am manipulativen und selbstreferentiellen Stil der beiden Regisseure. Eigentlich funktionieren diese Filme mehr wie Pat O’Neill artige Spiele mit der Publikumserwartung als ein narratives Kino, das sich mit der äußeren Welt beschäftigt. Hier stoße ich an meine Grenzen, denn ich befinde mich nun mal im fotorealistischen Camp der Filmbetrachtung und des Filmschaffens. Mir ist bewusst, dass Film immer Fiktion ist, aber diese Fiktion setzt sich aus dokumentarischen Teilen zusammen. Um frei Gilberto Perez zu zitieren: Das Licht der Kamera ist Dokumentation, jenes des Projektors ist Fiktion. Bei De Palma und Argento spielt der dokumentarische Charakter keine Rolle, sie haben kein Interesse an einer Welt, die sie nicht beherrschen können. Einzig in seinen komödiantischen Szenen, vermag De Palma ein solches Gefühl zu evozieren. Die Tatsache, dass „Suspiria“ in Deutschland spielt, hat schlicht keine nennenswerte Bedeutung. Sie verrät das Desinteresse von Argento für die Welt. Ich spüre sie die ganze Zeit wie kleine Teufel hinter der Leinwand, die mich und meinen Blick lenken. Die Künstlichkeit ihrer Filme, die ich prinzipiell mag, entsteht nicht aus einer Weltsicht sondern aus einer auf das und vor allem im Fall von De Palma gegen das Publikum gerichteten Idee. Dasselbe gilt für den Einsatz von Rot. Wie bei abstrakten Avantgarde-Künstlern gibt es keine Welt sondern nur die Welt des Films bei ihnen. Ich verstehe Cristi Puiu, wenn er sagt, dass er seinen Studenten auch vermittelt, dass sie nicht nur Filme sehen sollen. „Suspiria“ und „Carrie“ sind derart filmische Filme, dass sie die filmischste Eigenschaft von Film ignorieren: Ein Dokument der Welt zu sein. Ich bin mir bewusst, dass das ein wenig gezwungen und prinzipienhaft ist und ich will damit nicht sagen, dass diese Filme schlecht sind oder kunstlos. Aber sie sind redundant und können mich nicht über ihre Existenz im Kinosaal hinaus bewegen. Sie langweilen mich mit ihren aufgesetzten Blicken und ihrem fehlenden Beobachtungssinn. Sie sind Genremasturbationen. Ich will Zeit haben für meinen Blick, ich will nicht gelenkt werden. Ich fühle mich sowohl in „Carrie“ wie in „Suspiria“ vergewaltigt, die Filmemacher haben mich nicht respektiert. Ich respektiere ihre Qualität, aber hinterfrage ihre Ethik. Gut, dass es sowas gibt, denn sonst würde ich vergessen wie sich der wahre Horror in Rot in Ingmar Bergmans „Viskningar och rop“ und Michelangelo Antonionis „Il deserto rosso“ anfühlt.

Carrie2

Nein, ich weiß: Nicht jeder Film darf, muss, soll, kann so sein wie man es sich selbst vorstellt, die Filmkultur ist viel zu reich, um sie mit Prinzipiendenken zu erfassen, um sie auch wirklich genießen zu können. Ich glaube, dass jeder der das Kino liebt auch diese Filme liebt. Sie sind so reich an Form, Farben, Bewegungen, Geräuschen und Emotionen. Zudem sind sie unheimlich inspirierend, angefangen vom unfassbaren Szenenbild in „Suspiria“, zu dem Ausharren von Zeit in „Carrie“ bis zu den Bildikonen, die beide Filme schaffen und weitertragen. Beide Filme werden von hochinteressanten musikalischen Kompositionen begleitet und man wird in eine Trance des gefangenen Blicks geleitet. Meine ethischen Betrachtungen sind selbst in sich gefangen und redundant. Sagen sie etwas über das Wesen des Horrors aus? Vielleicht steht am Ende dieser beiden Werke, dass Horror immer eine liebevolle Hingabe des Zusehers verlangt, ein Vertrauen und ein eskapistischer Rausch in uns.

Vielleicht war diese Frontalprogrammierung zweier derart schreiender Horrorfilme auch zu viel für mich? Vielleicht habe ich verlernt, unschuldig Filme zu sehen? Vielleicht ist das gut so? Vielleicht mag ich Kino nicht? Vielleicht sind diese Filme nicht unschuldig? Vielleicht ist das gut so? Vielleicht habe ich doch Recht? Vielleicht stimmt alles, vielleicht stimmt nichts.

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  52. Amongst me and my husband we have owned a lot more MP3 gamers earlier mentioned the decades than I can depend, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, and so forth. But, the very last few yrs I’ve solved down in the direction of 1 line of avid gamers. Why? Given that I was delighted in direction of come across how well-designed and enjoyment in the direction of use the underappreciated (and broadly mocked) Zunes are.

  53. Zune and iPod: Greatest All those examine the Zune toward the Touch, nevertheless at the time viewing how skinny and amazingly low and mild it is, I think about it in the direction of be a instead distinctive hybrid that brings together characteristics of both of those the Touch and the Nano. It’s Really colorful and attractive OLED display is a little bit more compact than the contact screen, nevertheless the participant itself feels Really a bit more compact and lighter. It weighs pertaining to 2/3 as substantially, and is substantially lesser within width and top, despite the fact that staying merely a hair thicker.

  54. In these days of austerity plus relative panic about having debt, many individuals balk against the idea of having a credit card in order to make purchase of merchandise or maybe pay for any occasion, preferring, instead only to rely on the tried and trusted method of making repayment – raw cash. However, if you possess the cash available to make the purchase 100 %, then, paradoxically, that is the best time just to be able to use the credit card for several reasons.

  55. The fresh Zune browser is remarkably positive, nevertheless not as optimistic as the iPod’s. It will work very well, yet just isn’t as prompt as Safari, and includes a clunkier interface. If your self sometimes plan upon employing the web browser which is not an issue, still if you’re developing toward examine the internet alot towards your PMP then the iPod’s bigger display and far better browser may perhaps be important.

  56. This is becoming a bit even more subjective, however I significantly prefer the Zune Industry. The interface is colorful, has extra aptitude, and some cool options such as ‚Mixview‘ that let you quickly watch identical albums, new music, or other customers related toward what you’re listening in the direction of. Clicking on 1 of those will middle upon that solution, and another mounted of „neighbors“ will appear into feeling, enabling by yourself in the direction of navigate in excess of studying through similar artists, songs, or customers. Speaking of people, the Zune „Social“ is far too Wonderful entertaining, allowing for on your own discover some others with shared tastes and starting to be buddies with them. By yourself then can pay attention toward a playlist intended primarily based upon an amalgamation of what all your mates are listening in the direction of, which is far too fascinating. Individuals apprehensive with privateness will be relieved in the direction of notice your self can stay clear of the community towards viewing your specific listening patterns if you hence just take.

  57. Howdy I am so glad I found your blog, I really found you by accident, while I was researching on Askjeeve for something else, Anyhow I am here now and would just like to say kudos for a marvelous post and a all round entertaining blog (I also love the theme/design), I don’t have time to read it all at the moment but I have book-marked it and also added in your RSS feeds, so when I have time I will be back to read a lot more, Please do keep up the superb work.

  58. Sorry for the large research, nonetheless I am definitely loving the fresh new Zune, and anticipate this, as well as the perfect assessments some other people in america include published, will assistance your self come to a decision if it is the immediately decision for oneself.

  59. Among me and my husband we’ve owned far more MP3 avid gamers about the a long time than I can depend, which includes Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, and many others. But, the remaining couple of many years I have solved down towards one particular line of gamers. Why? Given that I was joyful toward investigate how well-designed and pleasurable in direction of employ the underappreciated (and extensively mocked) Zunes are.

  60. Hello my family member! I wish to say that this post is awesome, great written and include approximately all important infos. I would like to peer extra posts like this .

  61. The Zune concentrates upon remaining a Moveable Media Player. Not a world wide web browser. Not a sport machine. Maybe within just the potential it’ll do even far better in individuals areas, nevertheless for previously it really is a superior path in direction of prepare and pay attention in direction of your audio and flicks, and is with no peer within that respect. The iPod’s strengths are its website visiting and programs. If individuals stable additional compelling, maybe it is your ideal choice.

  62. Hello! Quick question that’s totally off topic. Do you know how to make your site mobile friendly? My website looks weird when viewing from my iphone4. I’m trying to find a theme or plugin that might be able to correct this problem. If you have any recommendations, please share. Many thanks!

  63. Apple presently contains Rhapsody as an app, which is a great get started, yet it is at the moment hampered by way of the incapacity to store regionally upon your iPod, and includes a dismal 64kbps little bit rate. If this variations, then it will fairly negate this convenience for the Zune, nonetheless the Ten new music for each month will nonetheless be a big moreover inside Zune Pass‘ prefer.

  64. Nice read, I just passed this onto a colleague who was doing some research on that. And he just bought me lunch as I found it for him smile Therefore let me rephrase that: Thank you for lunch!

  65. My spouse and i have been so joyous when Albert could deal with his investigation by way of the precious recommendations he made when using the web pages. It is now and again perplexing to simply possibly be offering solutions which usually other people have been making money from. And we all recognize we’ve got the writer to be grateful to because of that. The main illustrations you made, the simple web site navigation, the relationships you will give support to promote – it’s got many overwhelming, and it’s really helping our son and our family understand the situation is satisfying, and that is extremely important. Thank you for the whole lot!

  66. The Zune concentrates on being a Moveable Media Player. Not a web browser. Not a recreation machine. Maybe inside the future it will do even improved within people areas, nevertheless for previously it truly is a Good path toward prepare and pay attention toward your music and films, and is without having peer inside of that respect. The iPod’s positive aspects are its internet viewing and applications. If those people sound far more persuasive, potentially it is your simplest determination.

  67. Thanks, I’ve recently been looking for info about this topic for ages and yours is the best I have found out till now. But, what concerning the conclusion? Are you sure about the source?

  68. The clean Zune browser is astonishingly very good, however not as Fantastic as the iPod’s. It is effective perfectly, but isn’t really as immediate as Safari, and incorporates a clunkier interface. If on your own once in a while system upon using the world wide web browser which is not an issue, nevertheless if you are developing in the direction of examine the net alot against your PMP then the iPod’s larger sized display screen and better browser may well be considerable.

  69. I do agree with all of the ideas you’ve presented in your post. They’re very convincing and will definitely work. Still, the posts are too short for novices. Could you please extend them a bit from next time? Thanks for the post.

  70. Apple at present is made up of Rhapsody as an app, which is a superior get started, yet it is at this time hampered as a result of the lack of ability toward retail outlet locally on your iPod, and is made up of a dismal 64kbps bit selling price. If this modifications, then it will rather negate this comfort for the Zune, yet the Ten audio per thirty day period will even now be a significant in addition in just Zune Pass‘ want.

  71. I think this is among the most important info for me. And i am glad reading your article. But should remark on few general things, The web site style is wonderful, the articles is really great : D. Good job, cheers

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