This will all make sense: Über Magnolia und die Beatles

„This will all make sense, in the end.“

Das verspricht der Trailer von Paul Thomas Andersons Magnolia. Ein Ziel, das für einen Film, der in einer Laufzeit von drei Stunden die Geschichten von neun Personen erzählen will, gar nicht so leicht zu erreichen ist. Zudem beschränkt sich Andersons Film nicht damit, sich einem Thema zu verschreiben und alle Handlungsstränge durch ihre thematische Zusammengehörigkeit zu verknüpfen, sondern entwirft eine sich in viele Richtungen entfaltende Erzählung, deren Schwerpunkte sich immer wieder verschieben. Einsamkeit, Vergangenheitsbewältigung, Liebe, Tod und Unterdrückung sind Probleme mit denen sich jeder einzelne der Charakter auseinandersetzen muss. Die einzelnen Handlungsstränge spiegeln und kontrastieren sich dabei immer wieder in unterschiedlichen Konstellationen. Und am Ende soll alles Sinn machen?

Wie es Anderson gelingt aus Magnolia einen befriedigenden und in sich völlig schlüssigen Film zu machen, kann man nicht vollends erklären; es verhält sich wohl wie mit fast allen guten Filmen: Der Film funktioniert – niemand kann erklären warum – aber er funktioniert. Und es ist schließlich dieses Unerklärlich-Magische, das uns immer wieder zu bestimmten Filmen zurückkehren lässt, die jede neue Sichtung zu einer völlig neuen Erfahrung machen.

Nichtsdestotrotz hat Anderson einen kleinen Hinweis hinterlassen, der seine Inspiration für den Aufbau von Magnolia erläutert und uns zu einer neuen Sicht auf den Film verhilft. In einem Interview mit The Montreal Gazette behauptet er, den sich an der Dramaturgie des Beatles-Songs A Day in the Life orientiert zu haben.

Magnolia 2

A Day in the Life ist ein Lied, das sich gewissermaßen als etwas schizophren erweist: Die ersten beiden Strophen, geschrieben von John Lennon, sind von der dritten Strophe, die von Paul McCartney geschrieben wurde und sich inhaltlich und musikalisch stark vom Rest des Liedes unterscheidet, durch eine 24-taktige orchestrale Überleitung getrennt. Eine kurze Überleitung führt in die vierte Strophe, die sich stilistisch wieder zu den ersten Strophen passt. Das Ende des Liedes wird von einer Wiederholung der orchestralen Überleitung und einen unnatürlich lang ausgehaltenen Pianoakkord beschlossen. Die Struktur des Liedes führt zu einer musikalischen Verdichtung in der Überleitung zur dritten Strophe, die durch den Einsatz des großen Orchesters, das ein atonales Crescendo spielt. Nach dieser Verdichtung wirkt die einsetzende dritte Strophe als große Entspannung, dieser Eindruck wird auch durch den Text, der von Jugenderinnerungen McCartneys erzählt und in krassem Gegensatz zu den fast zynisch wirkenden aktualitätsbezogenen Passagen von Lennon steht, noch weiterhin verstärkt. Am Ende der Strophe leitet das Orchester, das zunächst der Harmonie des Liedes folgt, in den finalen Teil über, an dessen Ende es wieder zu einer Verdichtung der Musik kommt, die sich in einen langen E-Dur-Akkord löst.

Wir sprechen hier von Verdichtungen, Auflösungen, Wiederaufnahmen oder Reminiszenzen – Begriffe, die sich mit dramaturgischer Wirkkraft befassen und so auch auf den Film angewandt werden können. Beim Betrachten von Magnolia kann man sich nicht dem Eindruck entziehen, dass der dramaturgische Aufbau des Films, der Verlauf der einzelnen Spannungsbögen weiter von der theoretischen Norm abweicht, als es viele andere Filme tun. Die Struktur der Handlung und die Dramaturgie eines Filmes bedingen sich gegenseitig. Die Handlung von Magnolia ist – wie bereits erwähnt – thematisch nicht linear, daher bietet sich auch ein dramaturgischer Verlauf an, der nicht linear auf einen Höhepunkt zusteuert.

Spannend ist dabei zunächst die Frage, wie Anderson einzelne Szenen zu Paaren oder längeren Sequenzen zusammenführt. In einer Szene in der ersten Stunde des Films sehen wir den Krankenpfleger Phil (Philip Seymour Hoffman) am Bett des sterbenden Earl Partridge (Jason Robards) stehen. Plötzlich erhebt sich im Hintergrund der dunkle musikalische Nebel von Richard Strauss‘ Also sprach Zarathustra. Sowohl Phil als auch die im Zimmer anwesenden Hunde scheinen auf die Musik zu reagieren, die vierte Wand wird für einen Moment durchbrochen, der Zuschauer tritt in kritische Distanz zum Film und plötzlich werden bildinhaltliche Verbindungen zu Stanley Kubricks 2001: A Space Odyssey offensichtlich. Diesen Moment nutzt Anderson um zu einer neuen Szene zu schneiden und in diesem Moment wird klar, dass die Musik von Strauss von Anfang an zur zweiten Szene gehört hat und dort einen Auftritt des Motivationstrainers Frank Mackey (Tom Cruise) einleitet. Anderson verbindet durch diese musikalische Klammer zwei Szenen fließend miteinander; dieser Verfahren ist nicht neu, aber die Expressivität der Musik und die ausgedehnte Länge dieses Übergangs führen zu eben jener kritischen Distanz, die den Blick auf die Konstruktion des Films offenlegt.

Magnolia 1

Nach etwa einer Stunde kommt es zum ersten Mal zu einer starken dramaturgischen Verdichtung. Die Musik von Jon Brion tritt in den Vordergrund. Lang ausgehaltene, sich nach oben bewegende Akkorde erzeugen zusammen mit dem Mangel an melodischer Entwicklung an Spannung und steigern das Bedürfnis nach Auflösung beim Zuschauer. Der Rhythmus, in der von einem Handlungsstrang zum nächsten geschnitten wird, steigert sich in dieser Sequenz enorm, wobei dadurch verhindert wird, dass sich einzelne Handlungsstränge weiterentwickeln; der Film kommt zum Stillstand. An dieser Stelle zeigt sich, was Anderson mit seiner Aussage zu A Day in the Life gemeint haben könnte: diese Sequenz bildet ein Äquivalent zu der orchestralen Überleitung im Beatles-Song. Selbst die zeitliche Ausdehnung bewegt sich in Relation zur Gesamtlänge des Films in ähnlichen Verhältnissen wie die Orchesterpassage im Lied. Besonders auffällig ist jedoch die Positionierung dieser Sequenz im Film, erwartet doch der Zuschauer nach einer Sequenz das Ende des Films oder zumindest einen deutlichen Wendepunkt in der Handlung, der aber an dieser Stelle in Magnolia nicht eindeutig ausmachbar ist. Es ist ein Effekt der Täuschung, der auch in A Day in the Life umgekehrt auftritt: erwartet man im Film nach der Verdichtung einen Wendepunkt, wird im Lied nach der Überleitung eine weitere, ähnlich gestaltete Strophe erwartet. Anderson verkehrt also das dramaturgische Prinzip ins Gegenteil, um aber schlussendlich den selben dramatischen Effekt zu erzeugen.

Anderson schafft es also über die Musik die einzelnen Szenen des Films zu Paaren oder Sequenzen zu verbinden, um so die dramaturgische Struktur des Films zu erzeugen. Wir finden ausgedehnte dramatisch verdichtete Sequenzen an drei Stellen im Film, die seinen Aufbau dadurch in der Tat so bestimmen, dass er dem von A Day in the Life sehr ähnlich ist. Die zweite Sequenz tritt nach etwa zwei Stunden auf an dessen Ende Anderson ein Stilmittel aus dem Musiktheater übernimmt, indem alle Protagonisten des Films in einer Montagesequenz den Song Wise Up von Aimee Mann, der den Bildern unterlegt ist, mitsingen. Hier führt Anderson zwei zuvor bereits erwähnte Aspekte seiner filmischen Sprache zusammen: das dramatische Verdichten und das Durchbrechen der vierten Wand.

Magnolia 3

Eine letzte Verdichtung gibt es kurz vor Ende des Films. Auf den verlassenen Straßen von Los Angeles bewegen sich die Protagonisten aufeinander zu und aneinander vorbei. Die einzelnen Handlungsstränge scheinen kurz vor ihrer Auflösung (zum Schlechten) zu sein, doch die Stimmung des Films kippt noch einmal und durch einen unerwarteten Wetterumschwung (ein plötzlich einsetzender Froschregen) setzen sich Ereignisse in Gang, die zu einem mehr oder weniger glücklichen Ausgang der Ereignisse für alle Protagonisten führen. In einer langsamen Montage werden noch einmal alle handelnde Personen vorgeführt und mit dem Song Save Me von Aimee Mann endet der Film. Insbesondere diese letzte dramatische Verdichtung weist viele Parallelen zur Gestaltung des Endes von A Day in the Life auf. Im Beatles-Song wird durch die Wiederholung des Orchesterübergangs noch einmal eine düster-dramatische Stimmung erzeugt. Das atonale Crescendo endet jedoch abrupt in einem völlig bewegungslosen, lang ausgedehnten Schlussakkord, der in sich keine neuen dramaturgischen Akzente setzt, aber gegenüber dem gesamten Lied eine wundervolle Schlusswirkung erzeugt.

Genau diese wundervolle Schlusswirkung wird auch von Magnolias Ende erzeugt: Die Wendung des Films zu seinem Ende hin schafft es den Zuschauer zu befriedigen und den Film als ein Ganzes abzuschließen, ohne all die Eindrücke, die zuvor vermittelt wurden, in ihrer Intensität zu schmälern oder den Handlungssträngen eine Eindeutigkeit zu geben. Magnolia „ergibt Sinn“. Nicht, weil der Film dem Zuschauer am Ende eine eindeutige Botschaft oder eine logisch-kausal schlüssige Auflösung der Handlungsstränge bietet, sondern weil er eine in sich geschlossene, stimmige Einheit bildet. Die Ambivalenz der einzelnen Handlungsstränge, die durch das Ende eher noch verstärkt wird, macht den Reiz von Magnolia aus. Die Unabhängigkeit der Handlungsstränge beizubehalten und gleichzeitig den Film als in sich geschlossene Einheit erfahrbar zu machen ist Andersons feinem Gespür für Dramaturgie zu verdanken. Mithilfe der dramaturgischen Vorlage A Day in the Life gelingt es ihm so ein absolut befriedigendes und dennoch nachdenklich stimmendes Werk zu schaffen, das am Ende jenes Versprechen einhält, welches im Trailer getätigt wurde: It makes sense, in the end.

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  60. I am going to devices this study towards Two models of folks: latest Zune householders who are looking at an up grade, and All those attempting towards come to a decision concerning a Zune and an iPod. (There are other avid gamers significance considering out there, which includes the Sony Walkman X, still I be expecting this offers by yourself adequate details in direction of deliver an knowledgeable alternative of the Zune vs gamers other than the iPod line as properly.)

  61. Thank you, I have recently been searching for info approximately this topic for a while and yours is the best I have came upon till now. But, what concerning the bottom line? Are you sure in regards to the source?

  62. The new Zune browser is astonishingly Fantastic, but not as constructive as the iPod’s. It will work very well, yet isn’t really as prompt as Safari, and has a clunkier interface. If your self sometimes application on employing the world wide web browser that is not an issue, nonetheless if you happen to be building toward examine the internet alot towards your PMP then the iPod’s larger sized display and improved browser could be major.

  63. It’s the best time to make some plans for the future and it’s time to be happy. I’ve read this post and if I could I want to suggest you few interesting things or suggestions. Maybe you can write next articles referring to this article. I desire to read more things about it!

  64. Amongst me and my partner we have owned even further MP3 players about the decades than I can rely, such as Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etcetera. But, the very last number of decades I have resolved down towards 1 line of players. Why? For the reason that I was joyful in direction of take a look at how well-designed and enjoyment towards retain the services of the underappreciated (and extensively mocked) Zunes are.

  65. Hiya very nice site!! Guy .. Excellent .. Superb .. I will bookmark your site and take the feeds also…I’m glad to seek out numerous useful information right here within the put up, we need develop more strategies in this regard, thanks for sharing.

  66. Fantastic goods from you, man. I’ve have in mind your stuff prior to and you are simply too excellent. I really like what you have got right here, really like what you are saying and the way in which you say it. You make it entertaining and you continue to take care of to keep it wise. I can not wait to learn much more from you. That is really a wonderful web site.

  67. The Zune concentrates on remaining a Portable Media Player. Not a world wide web browser. Not a sport machine. Quite possibly inside the long term it’s going to do even greater inside of these areas, but for previously it really is a very good path in direction of prepare and hear in the direction of your music and films, and is without having peer inside of that respect. The iPod’s strengths are its web visiting and purposes. If those people strong far more compelling, maybe it is your excellent conclusion.

  68. I really enjoy reading through on this web site , it has got fantastic blog posts. „The great secret of power is never to will to do more than you can accomplish.“ by Henrik Ibsen.

  69. Apple previously contains Rhapsody as an app, which is a outstanding get started, still it is previously hampered via the inability in direction of retail store regionally on your iPod, and contains a dismal 64kbps little bit price tag. If this variations, then it will somewhat negate this ease for the Zune, yet the Ten music per thirty day period will however be a big plus within just Zune Pass‘ choose.

  70. Thanks for discussing your ideas right here. The other matter is that whenever a problem comes up with a laptop motherboard, folks should not consider the risk involving repairing it themselves because if it is not done correctly it can lead to permanent damage to an entire laptop. It is usually safe to approach the dealer of that laptop with the repair of the motherboard. They have technicians who have an knowledge in dealing with pc motherboard issues and can get the right diagnosis and accomplish repairs.

  71. This is having a bit further more subjective, yet I considerably choose the Zune Market. The interface is colourful, includes far more flair, and some neat functions which include ‚Mixview‘ that permit your self suddenly see comparable albums, new music, or other users related in the direction of what you are listening toward. Clicking upon one of those will heart upon that solution, and another fixed of „neighbors“ will occur into belief, permitting on your own towards navigate over looking into via identical artists, tunes, or end users. Chatting of customers, the Zune „Social“ is too perfect pleasurable, allowing yourself discover other folks with shared tastes and getting good friends with them. Oneself then can hear in direction of a playlist produced based mostly on an amalgamation of what all your buddies are listening towards, which is on top of that fascinating. These worried with privacy will be relieved toward recognize by yourself can stop the general public towards watching your individual listening routines if on your own consequently just take.

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