Land of the Dead: The Horror of Film: Toby Dammit und Cuedecuc, Vampir

Kaum habe ich nach dem Screening von “Carrie” von Brian De Palma und “Suspiria” von Dario Argento im Rahmen der Land of the Dead-Schau im Österreichischen Filmmuseum meine Schwierigkeiten mit der filmischen Manipulation geäußert, schon sehe ich mit „Toby Dammit“ von Federico Fellini und „Cuadecuc, Vampir“ von Pere Portabella zwei Filme, die genau diese Manipulation thematisieren und in den wahren Horror der Filme drehen. In dieser äußerst spannenden Programmierung taten sich neue Aspekte des Genres auf, die sich mit der Konstruktion von Horror und dem (politischen) Horror, der dahinter lauert, beschäftigen und zudem auch Fragen an Rhythmus und Ton im Genre stellen. Schließlich verunsichern die beiden Filme ihre Zuseher mit ihren Blicken hinter die Kulissen und finden so den Horror der Konstruktion. Ganz beiläufig entdeckt man so noch ein fast vergessenes Fellini-Glanzstück.

Toby Dammit3

„Toby Dammit“, ist im Rahmen des Omnibusprojekts „Histoires Extraordinaires“ mit drei Edgar Allan Poe-Verfilmungen entstanden. Die anderen beiden Segmente, die uns nicht gezeigt wurden, stammen von Louis Malle und Roger Vadim. Auch Fellinis Episode „Toby Dammit“ ist eine solche Poe-Verfilmung, selbst wenn sich der italienische Meister nur in Ansätzen an der Vorlage „Never Bet the Devil Your Head“ bedient sondern eher ein freie Reflektion über den eigenen Motivkomplex (Traumwelten, existentialistisch-kriselnde Männer, in die Kamera blickende Frauen manchmal mit riesigen Hüten, extravagante Fahrten, High Society Blabla, Paparazzi, satirische Nonchalance, Rom bei Nacht, Nino Rota und einiges mehr) mit der makaberen Mystik von Poe kreuzt. Der britische Shakespeare-Filmstar Toby Dammit (Terrence Stamp) reist zu einer Preisverleihung nach Rom. Dort taumelt er durch die Hölle der gefälschten Oberflächen von Film und Fernsehen. Er bewegt sich wie ein Vampir, sieht auch so aus und hat Visionen von einem kleinen blonden Mädchen, das er in einem Interview als den Teufel bezeichnet. Der Film entwickelt sich zu einem Horrortrip. Mit einem rohrenden Ferrari jagt der nahe am Zusammenbruch stehende Mann nach einem Ausraster auf der Preisverleihung durch den nächtlichen Nebel und verliert sich völlig. Dann sieht er wieder das blonde Mädchen…Das alles funktioniert ganz außerordentlich gut. „Toby Dammit“ ist ein fast vergessener Schatz, ein großartiger Film, der sich wunderbar als Brücke zwischen der Hochphase von Fellini mit Filmen wie „La Dolce Vita“, „8 ½“ oder „Giulietta degli spiriti“ und der künstlerischen Umarmung des Artifiziellen in Filmen wie „Satyricon“ oder „Roma“ verstehen lässt. Hier ist ein Protagonist, der deutlich aktiver ist als die Marcello-Existentialisten bei Fellini. Seine Aktivität ist zwar von Surrealismus und Todestrieb bestimmt, aber sie macht am Ende des Films nicht genau dort weiter, wo sie angefangen hat, es gibt nicht das selbstbemitleidende Schulterzucken von Mastroianni, sonder die Flucht in die totale Fatalität. Folgerichtig schraubt Fellini sein sowieso schon hohes Tempo in Kamerabewegung und Schnitt nochmal nach oben. „Toby Dammit“ markiert auch die erste Kollaboration von Fellini mit Kameramann Giuseppe Rotunno, der menschlichen und gesellschaftlichen Verfall wie kaum ein zweiter in Schönheit portraitieren kann. (Man denke an seine Bilder in „Il Gattopardo“ von Luchino Visconti unter anderem). Hier wird Rom von der ersten Sekunde als Hölle gezeichnet. Ein orangener Dunst hängt über dem Flughafen, unheimliche Gestalten überall, manchmal sind es aufgemalte Figuren, manchmal echte Menschen, manchmal Attrappen, ich bin mir nie sicher, die Kamera passiert sie in einem schwindelerregenden Schönheitsrausch, der überwältigend unheimlich wirkt. In einer riesigen Summierung von POV-Schüssen aus dem rasenden Ferrari entsteht eine hypnotisch-hysterische Suche in der Dunkelheit über verlassene italienische Landstraßen, die einen völlig gefangen nimmt. Es entsteht ein Gefühl für Rhythmus, der einen in eine Horror-Trance versetzt. Wie wichtig Rhythmus und Trance für das Genre sind, zeigt sich dann vor allem in Verbindung zu „Cuadecuc, Vampir“ von Pere Portabella.

Cuadecuc Vampir2

Dieser ist zugleich ein eigenständiger Film des Horrors als eine Dokumentation des Drehs zu Jésus Francos „Count Dracula“ mit Christopher Lee. Dabei folgt der Film mit einer deformierten Tscherkassky-Romantik dem Dreh und der Geschichte um den Fürsten der Dunkelheit. In grenzwertig hohen Schwarz/Weiß Kontrasten entsteht ein Rauschen der Bilder und eines Noise-Trance Soundtracks (Elektro, Oper, Hämmer, eine Bohrmaschine???), der sich immer wieder in einer betulichen Melodie entblößt bis auch diese in ihre Einzelstücke zersetzt wird. Dabei wird bis zum Ende kein Wort gesprochen. Es ist ein Stimmungsbild eines Filmdrehs, das wie eine Erinnerung an Eindrücke von der Entstehung eines Films in uns überlebt. Hier vermischen sich Film und Nicht-Film zu einer fast ununterscheidbaren Poesie des Horrors. Es ist als würde Miguel Gomes einen Horrorfilm drehen.

Toby Dammit4

Die Bewegungen der Kamera und die Bewegungen vor der Kamera folgen dabei dramaturgischen Prinzipien des Horrors. Sie werden langsam schneller, es gibt einen Schockmoment, dann atmet man wieder durch. Einzig eine inhaltliche Verortung fehlt. Diese braucht man sich auch auf keinen Fall herstellen, denn „Cuadecuc, Vampir“ funktioniert nach einer inneren Logik über seinen Rhythmus. In beiden Filmen des Abends entsteht eine Trance, die man als Tanz mit dem Teufel bezeichnen kann. Im Gegensatz zu Argento verzichten Fellini und Portabella darauf ihre rhythmischen Horrorbewegungen mit platten Dialogen und albernen Momenten in das Reich des Trash zu überführen sondern bewegen sich entlang der Essenz des Genres. In einer Sequenz entsteht eine Erwartung an eine Katastrophe/einen Schock alleine durch den lauter werdenden Ton. Es ist natürlich kein Geheimnis, dass Ton eine der wichtigsten Rollen für das Horrorgenre spielt, aber es ist äußerst interessant, dieses Gefühl so nackt zu erleben.

Cuadecuc Vampir

Und der Film wird zum Horror. So sind es bei Fellini die grell leuchtenden Fotoapparate, die oberflächlichen Fratzen der Filmproduzenten, das gelangweilte Nichts aus den weiblichen Darstellern und der geheuchelte Applaus einer Branche am dekadenten Abgrund während es bei Portabella das Schuss-Gegenschuss Prinzip von erschrockenen Gesichtern und der langsamen Bewegung eines Dollys um eine Ecke sind oder Hände, die aus dem Off mit Kunstblut auf Gesichter spritzen. Merkt man bei Fellini eine Bitterkeit über die grausamen Absurditäten der falschen Menschen so sucht Portabella immer wieder die wahren Momente dieser konstruierten Figuren und schneidet sie unbemerkt zwischen seine Bilder des diegetischen Geschehens: Ein kurzer Ekel über die Flüssigkeit nach dem Take, ein plötzliches Lächeln in die Kamera. Dabei manipuliert „Cuadecuc, Vampir“ auf seine ganz eigene Weise, denn er spielt bis zum Anschlag mit den Möglichkeiten der Montage. Gesichter und Ausdrücke werden gegeneinander geschnitten und erzeugen eine Angst, die nur vor dem Film selbst entsteht. So wird für einige Sekunden die Vorrichtung gezeigt, auf der sich die Fledermausattrappe vor und aus dem Fenster bewegt. Dies lässt uns zwar die Konstruktion durchschauen, aber Portabella schneidet die Bilder so in seinen Film, dass der Horror einfach weitergeht. Die Maske des Horrors fällt und bleibt gerade deshalb und wer will kann dabei vor allem bei Portabella eine anti-faschistische Allegorie sehen. Denn wer in Dracula die Verkörperung von General Francsico Franco sieht, der wird einiges über den Horror einer faschistischen Regierung erfahren, wenn dieser sich seine unheimlichen Augen aus dem Gesicht nimmt und als ganz normaler Mensch vor uns sitzt. Am Ende liest Chirstopher Lee dann aus dem Roman den Tod seiner ikonischen Figur vor. Er muss zweimal beginnen. Als er endet, wird seine Figur doch wieder zu Dracula. Es ist ein Spiel, wir durchschauen es, aber dennoch verunsichert es uns und macht uns Angst. Nur weil die Maske des Horrors fällt, fällt noch lange nicht der Horror darunter. Das Ende von „Cuadecuc, Vampir“ bricht mit dem Horror und bestätigt ihn zugleich.

Toby Dammit2

Ein faszinierendes Double-Screening, das den Spiegel auf den Horror richtete und nicht das offenbarte, was man erwartet hat.

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  64. This is turning out to be a bit much more subjective, still I a great deal choose the Zune Market. The interface is vibrant, has even further aptitude, and some great capabilities which includes ‚Mixview‘ that let on your own suddenly watch identical albums, tunes, or other consumers identical towards what you might be listening in the direction of. Clicking upon one particular of those people will center on that product, and yet another set of „neighbors“ will arrive into view, making it possible for oneself towards navigate more than exploring by way of comparable artists, songs, or consumers. Conversing of customers, the Zune „Social“ is on top of that great enjoyment, permitting your self uncover others with shared preferences and getting mates with them. You then can hear in the direction of a playlist constructed based mostly upon an amalgamation of what all your pals are listening toward, which is as well interesting. Those worried with privateness will be relieved in direction of know yourself can stay clear of the public against looking at your unique listening routines if by yourself hence pick.

  65. I really appreciate this post. I have been looking all over for this! Thank goodness I found it on Bing. You’ve made my day! Thx again!

  66. Palms down, Apple’s app keep wins through a mile. It’s a significant range of all types of programs vs a rather unhappy preference of a handful for Zune. Microsoft includes Options, particularly within just the realm of games, however I’m not positive I might need in direction of guess on the future if this section is critical towards by yourself. The iPod is a substantially far better final decision in just that circumstance.

  67. Apple now consists of Rhapsody as an application, which is a outstanding start out, yet it is already hampered by way of the incapacity to keep domestically on your iPod, and has a dismal 64kbps little bit price. If this adjustments, then it will somewhat negate this comfort for the Zune, still the Ten music for each thirty day period will still be a huge in addition in Zune Pass‘ like.

  68. I just could not depart your website prior to suggesting that I actually enjoyed the standard info an individual supply on your visitors? Is going to be back continuously in order to inspect new posts

  69. Keep up the superb work , I read few articles on this web site and I conceive that your web site is very interesting and contains circles of wonderful info .

  70. Between me and my husband we have owned additional MP3 gamers earlier mentioned the a long time than I can count, together with Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, and many others. But, the ultimate few several years I’ve settled down towards 1 line of avid gamers. Why? Simply because I was joyful towards take a look at how well-designed and fun toward employ the service of the underappreciated (and broadly mocked) Zunes are.

  71. Thanks for some other informative website. Where else may just I get that kind of information written in such a perfect method? I’ve a mission that I’m just now running on, and I’ve been at the glance out for such information.

  72. It is indeed my belief that mesothelioma is actually the most lethal cancer. It has unusual qualities. The more I actually look at it the harder I am certain it does not conduct itself like a true solid cells cancer. If perhaps mesothelioma is really a rogue viral infection, therefore there is the chance of developing a vaccine plus offering vaccination for asbestos subjected people who are really at high risk associated with developing foreseeable future asbestos relevant malignancies. Thanks for sharing your ideas on this important ailment.

  73. Zune and iPod: Highest people in america look at the Zune in the direction of the Contact, but after watching how slim and remarkably reduced and gentle it is, I try it to be a alternatively one of a kind hybrid that brings together traits of possibly the Touch and the Nano. It is exceptionally colorful and beautiful OLED exhibit is a little bit more compact than the touch screen, yet the participant alone feels pretty a bit smaller sized and lighter. It weighs regarding 2/3 as substantially, and is substantially smaller sized inside of width and height, although staying basically a hair thicker.

  74. whoah this blog is excellent i love reading your articles. Keep up the great paintings! You know, a lot of people are hunting around for this information, you could help them greatly.

  75. Zune and iPod: Utmost people compare the Zune towards the Contact, but immediately after viewing how thin and amazingly small and gentle it is, I look at it in the direction of be a really special hybrid that combines properties of both of those the Contact and the Nano. It truly is unbelievably colorful and stunning OLED display screen is marginally smaller than the touch screen, still the participant by itself feels fairly a bit more compact and lighter. It weighs pertaining to 2/3 as considerably, and is drastically smaller in width and top, although currently being merely a hair thicker.

  76. Sorry for the massive examine, but I am very loving the new Zune, and expect this, as effectively as the high quality evaluations some other people comprise prepared, will assist oneself make your mind up if it’s the directly final decision for by yourself.

  77. I am now not sure where you’re getting your information, but good topic. I must spend a while learning much more or working out more. Thanks for fantastic info I was searching for this information for my mission.

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