Unfaithful Dance of Waves: Gardiens de phare von Jean Grémillon

Im Rahmen der Schau Last Silents im Filmarchiv Austria kam es zu einer tragischen Begegnung zwischen dem Licht und dem Schatten in Jean Grémillons Gardiens de phare. Es ist ein Film, der im enthusiastischen Dialog mit dem Aufbruch im französischen Kino jener Zeit steht (nicht umsonst heißt der Autor des Drehbuchs Jacques Feyder und einer der begeistertsten Kritiker Marcel Carné) und der die avantgardistischen und realistischen Strömungen dieser Zeit in einen dramatischen und abstrakten Strudel verdichtet.

Im Film gibt es einige Schauspieler, die eine Geschichte zeigen in Gesten und Bewegungen. Zwei Dinge, die späten Stummfilmen oft in großer Virtuosität gemein sind. Die Geste als ausformulierter Ausdruck des Stummfilms, die Bewegung als Versprechen einer neuen Ära. Diese Geschichte erzählt von Liebe, Einsamkeit, Sehnsucht, Krankheit, Isolation und Wahn. Es ist das schreckliche Gefühl eines Abschieds, einer notgedrungenen Trennung und eines Unfalls, die über dem Film schwebt. Ein Mann tritt seine Arbeit in einem Leuchtturm an und verlässt dafür seine Liebe für eine längere Zeit. Zusammen mit seinem Vater fährt er auf die kleine Insel, die man vom Festland aus sehen kann. Allerdings wurde er dort bei einem Spaziergang mit seiner Frau von einem tollwütigen Hund gebissen. Langsam kippt er in einen Wahnsinn, der ihn die Entfernung seiner Frau viel deutlicher spüren lässt, ihn von seinem Vater entfremdet und ihn schließlich in einen gewaltvollen, suizidalen Rausch versetzt. Diese Gewalt scheint jedoch viel weniger durch den tollwütigen Hund (der bis auf einen heftigen, wiederkehrenden Flashback äußerst unschuldig und ruhig unter einem Tisch liegend gezeigt wird) verursacht, als durch die beständige Brandung des Meeres, der Sturmgewalt, der Isolation im Leuchtturm, die schließlich tödlich endet.

Wenn die Geschichte hier nur so grob umrissen werden soll, dann hat das einen Grund, denn die eigentliche Geschichte spielt sich anderswo oder sagen wir besser: gleichberechtigt in dem ab, was um die Figuren existiert. Und dieses Um-die-Figuren ist auch In-den-Figuren: Das Meer. Hier furios, gewaltvoll, bedrohlich, aber auch still und fern. Man denkt unweigerlich an Jean Epstein, der in seinen bretonischen Gedichten wie Finis Terræ oder Le tempestaire ein ähnliches Meer gesehen hat. Ein Meer wie ein Spiegel für das Kino. Man kann sagen, dass Grémillon nicht ganz so weit geht wie Epstein mit dieser Poesie des Meeres, der Zeitlichkeit, die jene des Kinos wird und auch der dokumentarischen Kraft der Bilder vom Meer. Eher schon ist es ein Dialog zwischen den Figuren und dem, was um sie ist, was sie letztlich bestimmt, hypnotisiert und täuscht. Es ist als würde die Geschichte vom Meer unterwandert werden. Wellen peitschen gegen die Küste, die Gischt dringt wie eine Bedrohung ein, ein wunderschöner Abgrund. Dann wird dadurch ein Drama ausgelöst, das nicht wie bei Epstein im Meer und den Figuren gleichermaßen stattfindet. Eher ist das Meer, das Grémillon angeblich liebte (es ist schwer zu glauben in diesem brutalen Film, auch wenn man es sehen kann), eine Infusion des Dramas. denn es bringt Sturm, Isolation, Entfernung. Ein wenig spielt das Meer hier die Rolle des Windes aus Victor Sjöströms The Wind. Allerdings ist die Tollwuterkrankung dann doch ein nicht ganz so leicht ignorierterer Widerspruch zur abstrakten Angst von Lillian Gish beim schwedischen Filmemacher.

Dennoch, dieses Meer bestimmt die filmische Welt. Diese Welt setzt sich aus drei Elementen zusammen: Licht, Schatten und Schwindel. Man merkt nicht sofort wie sehr all das am Meer hängt, aber nach und nach zeigt sich, dass das Meer und das, was mit ihm kommt (vor allem der Wind) Schatten und Licht bewegen und zwar nach und nach in einer derartigen Geschwindigkeit, dass ein Schwindel im rauschenden Silhouettentanz des Films entsteht. Das augenscheinlichste Beispiel ist das Licht des Leuchtturms, der die Handlung und den Titel des Films prägt. Wir alles im Film und wie Leuchttürme allgemein, existiert er nur aufgrund des Meeres. Dort im Leuchtturm findet das Drama statt (egal ob aus der Nähe im Wahnsinn einer Isolation oder aus der Ferne in der sehnsüchtigen Liebe einer Hoffnung auf das Licht). Aus der Nähe filmt der überwältigende Kameramann Georges Périnal, dessen Kapazität für den Ozean und Poesie an diesen Ufern noch lange nicht erschöpft war (man denke an Bonjour Tristesse von Otto Preminger oder Le sang d’un poète von Jean Cocteau), die drehende Scheibe des Leuchtturmlichts, der Apparatur, die das Licht in Abhängigkeit der Gezeiten und Tageszeiten steuert. Er filmt die sich drehende Scheibe, die immer abwechselnd Schatten und Licht auf die Gesichter der Leuchtturmwärter wirft, als wäre das der Gang des Lebens. Nicht nur Tag und Nacht, sondern Gutes und Böses, Hoffnung und Tod. Aus der Ferne dagegen ist das blinkende Licht umrandet von einer ungewissen Dunkelheit. In einer anderen Szene kommt es zu einem Todeskampf zwischen den beiden Leuchtturmwärtern. Dieser findet hinter einer Tür statt, die immer wieder auf- und zuschlägt. Man sieht oder man sieht nicht. Die Kamera bewegt sich nicht, es gibt keinen Schnitt. Sie dokumentiert nur das, was man sehen kann und das was verborgen bleibt. Licht und Dunkelheit bestimmt vom Wind. Außerdem eine Art Traumsequenz (man ist vorsichtig mit diesem Begriff, da die Bilder des Films allesamt nicht aus der Klarheit eines Wachseins entwachsen) in der Licht und Schatten ein nächtliches Liebesbild bringen. Es ist als würde Périnal Wellen an die Wände werfen. Die Sehnsucht und die Seensucht verderben sich zu einer Krankheit, einer Angst. Fast perfide und in einer Grausamkeit, die man so selten gesehen hat, löst sich dieses Spiel am Ende des Films auf, als Grémillon zeigt, dass nicht das Licht die Hoffnung ist und der Schatten das Unheil, sondern beide diese nur repräsentieren. Was dann entsteht, ist eine Hoffnung, die eine Illusion ist. Verschluckt in der Dunkelheit eines einsamen Lichts, von dem wir wissen, das es zu spät kommt.

Der Schwindel, der die Krankheit und den Wahnsinn in Bildern zu fassen trachtet, entsteht durch die rasche Abfolge von Licht und Schatten. Er entsteht auch, weil Erinnerungen und Imaginationen sich zwischen den beiden Extremen des Sehens und des Nicht-Sehens entfalten. So sieht der Leuchtturmwärter einmal einen immer schneller werdenden Tanz mit seiner Frau, in dem sich alles dreht und dreht. Ein anderes Mal folgen wir den fiebrigen Erinnerungen an den Hundebiss mit einer superschnellen Parallelfahrt am Meer und den schnellen, wirren Bildern, die sich drehen und drehen. Das Meer selbst schleudert sich gleich eines Vertigo-Abgrunds in diesen Schwindel und verführt den jungen Mann beinahe mit Unschärfen in den Tod. Diese Inszenierungslinien zwischen Licht und Dunkelheit, die in Schwindel führen, erinnern an Les Amants du Pont-Neuf von Leos Carax. Dort setzt der Filmemacher ganz ähnlich wie Grémillon Licht und Dunkelheit, feste und flüßige Materialien gegeneinander. Adrian Martin und Cristina Álvarez López haben sich dazu Gedanken gemacht. Carax und Grémillon erzählen damit eine Geschichte, die sich nur auf der Oberfläche der Leinwand abzuspielen scheint, man möchte eigentlich sagen in abstrakter Manier, aber diese Abstraktion ist Teil einer Narration. Beiden geht es darum weder in einen blinden Abbildrealismus zu fallen noch das Potenzial des Kinos zugunsten einer Erzählung zu verneinen. Bei Grémillon ist es schließlich die Abstraktion einer Täuschung und Enttäuschung. Das Wechselbad aus Hoffnung und Verzweiflung vermag sich nur durch den Einsatz von Licht (ganz wie bei einem Leuchtturm) umkehren, sodass mit einem Schlag in der Hoffnung die größte Verzweiflung liegt.

Gardien de phare de Jean Grémillon from Ensemble Sillages on Vimeo.

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  71. Interesting post right here. One thing I would like to say is that most professional fields consider the Bachelor’s Degree just as the entry level requirement for an online diploma. Even though Associate Certifications are a great way to begin, completing your own Bachelors opens up many opportunities to various professions, there are numerous internet Bachelor Diploma Programs available via institutions like The University of Phoenix, Intercontinental University Online and Kaplan. Another issue is that many brick and mortar institutions provide Online variations of their diplomas but commonly for a substantially higher cost than the corporations that specialize in online college degree plans.

  72. Apple at this time contains Rhapsody as an application, which is a perfect start out, nevertheless it is now hampered through the incapability to retailer domestically upon your iPod, and includes a dismal 64kbps bit rate. If this adjustments, then it will relatively negate this convenience for the Zune, however the Ten audio per thirty day period will still be a massive moreover in just Zune Pass‘ want.

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