Viennale 2014: Detached Lies: La chambre bleue von Mathieu Amalric

La chambre bleue von Mathieu Amalric ist ein surrende Hitchcock-Wind, der in seinen bewusst gesetzten Zwischentönen von einer merkwürdigen Abwesenheit inmitten seiner stilistischen Marmeladentropfen und blau/roten Farbgestaltungen erzählt. In der Romanadaption von Georges Simons gleichnamigen Buch aus den 1960er Jahren stilisiert Amalric sein Gefühl für Momente und die Welt zunächst bis zu einem gefährlichen Grad. Alles soll hier der schwitzenden und bedrohlichen Stimmung von Lügen, Sex und Gewalt untergeordnet werden. Es ist ein Film über eine manische Affäre, die in undurchschaubaren Morden enden wird. Das 1:33 Format, die schnellen und treibenden Schnitte begleitet von einer Bernard Herrmanesquen Musikkulisse (Musik: Grégoire Hetzel, auf jeden Fall einer der besten klassischen Scores des Jahres), der zarte und niemals verschleierte Einsatz von Licht und Farben und das zurückgenommene und doch sehnsuchtsvolle Schauspiel deuten auf einen derart souveränen Umgang mit dem Stil eines Genres hin, dass man sich durchaus berechtig fragen darf, ob sich hinter dem Stil noch etwas befindet.

The Blue Room mit Mathieu Amalric

Der Film ist eine Übung des Blickpunktes. Amalric verändert die Realität und unsere Wahrnehmung dieser nach der Erinnerung eines verunsicherten Erzählers, kleine Augenblicke blitzen auf und die Wahrheit und der Stil beginnen sich anzunähern. Denn das Auge-und das ist kein Wortverdreher-liegt sicher in der Wahrheit des Betrachters. La chambre bleue ist ein Film über die Angst vor sexueller Begierde, indem die Bedrohung nicht wie etwa in In the Realm of the Senses von Nagisa Ōshima von der Gleichzeitigkeit von Gewalt und Sex ausgeht sondern schlicht in der Existenz einer verbotenen Sexualität. Dies ist natürlich keine Neuerfindung des Genres, aber in nervösen Vermischungen von Fiktion, Wahrheit und Erinnerung ergibt sich ein fesselndes Bild einer unumkehrbaren Gegenwart, indem man erst nach und nach begreift, dass der Blickpunkt ein subjektiver ist und ein fehlerhafter. Es ist dies der bereits 4. Spielfilm des französischen Schauspielers und Regisseurs, der sich selbst in einer undurchschaubaren Verletzlichkeit inszeniert, die gewissermaßen seine drei großen Stärken vereint:

1. Der zerbrechliche Amalric
Im Grunde ein Kind, pflegebedürftig, schaut mit großen Augen in die Welt, wird von der Welt geschoben, unkontrolliertes Treiben, irgendwo in ihm spürt man eine Verbindung zu uns, man mag ihn.

2. Der kalte Amalric
Er lügt ohne Wimpernschlag, er richtet sich immer wieder seine teuren Hemden und schlendert elegant beobachtend durch die Welt. Dabei wirkt er schuldig und verletzend und sehr arrogant, man mag ihn.

3. Der nackte Amalric
Vor einem Fenster, nackt, irgendwie nicht nur körperlich, sondern mit seiner Desplechin-Seele, er raucht und denkt, seine Augen sind dann glasig, man mag ihn sehr.

Als Regisseur bleibt der Franzose ein Chamäleon, keiner seiner Filme gleicht dem Nächsten. Als großer Freund seines Tournée musst ich mich erst mit der Hermetik seines neuen Films anfreunden, schließlich war eine große Stärke seines vorherigen Langfilms die Offenheit, die immer bereit war den Zufall und den Moment des Schweigens in die Bilder zu lassen. Bei genauerer Betrachtung jedoch offenbaren sich auch in La chambre bleue solche Momente. Da wäre zum einen eine fantastische Szene, in der eine Richterfigur plötzlich bei der morgendlichen Vorbereitung auf eine Verhandlung oberkörperfrei und sehr entkräftet in seinem Büro steht, um sich sein Hemd anzuziehen. Später wird er während des Gesprächs kurz ans Telefon gehen und über einen anderen Fall sprechen und auch im Gericht selbst wird die Kamera immer wieder auf scheinbar leeren Momente mit alltäglichen Regungen, Abwesenheiten und Müdigkeit (sogar des Angeklagten selbst) gerichtet. Damit ist La chambre bleue ein abwesender Film, dem man ständig die absolute Aufmerksamkeit entgegenbringen muss, weil in seiner Flüchtigkeit und Ablenkung vielleicht der entscheidende Hinweis, der entscheidende Blick, die entscheidende Farbe aufleuchten wird.

Viennale 2014 La chambre bleue

Das Prinzip der Ablenkung wird auch mit der Subjektivität der Perspektive verbunden. So bekommen scheinbar banale Gegenstände wie ein rotes Handtuch am Strand oder die blauen Farben im Gericht eine große Bedeutung. Amaric schneidet in Detailaufnahmen dieser Gegenstände, die somit nur auf den ersten Blick die Narration unterbrechen. Denn eigentlich sind sie der Motor jedes Bild, jeder verunsicherten Nacherzählung und gewissermaßen ein Triebauslöser für den passiven Protagonisten. Es ist eine fragmentierte Wirklichkeit, die zum Stil des Romans und damit ganz sicher auch-und Amaric hat mehrfach darauf verwiesen-auf das Kino von Alain Resnais passt, denn hier werden Chronologien aus ihrer Nachvollziehbarkeit gehoben und es entstehen Zeitbilder. Einige Male macht Amalric gelangweiltes Kino mit Klischeeeinstellungen. Das geht los bei seinem eher uninspirierten Szenenbild mit Häusern und Zimmern ohne Leben und geht weiter über Einstellungen wie die nächtliche Kamera aus dem Auto auf die weißen Mittelstreifen zu richten oder diese übertriebene Liebe für warmes, sonniges Gegenlicht, die das diesjährige Kinojahr wie eine Krankheit verfolgt. Man merkt ein wenig zu oft, dass hinter jeder Einstellung ein größerer psychologischer Gedanke weilt und fühlt sich daher etwas arg gelenkt. Das hohe, fast gedrängte Erzähltempo wirft darüber allerdings einen Schleier.

Am Ende stellt sich nun die Frage, ob La chambre bleue eine gelungene Stilübung ist oder mehr. Die Kontrolle über das filmische und genrespezifische Handwerk von Amalric ist absolut beeindruckend und der Film zeigt mal wieder wie eindrucksvoll Film sein kann, wenn er im Bewusstsein seiner eigenen Geschichte und Möglichkeiten entsteht. Durch die subjektive Erzählweise offenbart sich jedoch zudem ein reflexives Bedauern, das in fast vorbeihuschende philosophische und psychologische Tiefen vordringt, die man nicht häufig in einem Genrefilm gesehen hat.

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