Von gespielten Emotionen und einer Mattanza in Stromboli

Warum heute noch über Stromboli von Roberto Rossellini schreiben? Wurde nicht alles gesagt, ist die Modernität des Films nicht längst ein Klassizismus geworden, seine Neuheit ein Standard? Eher nicht, vielmehr ist es dringender denn je. Wenn man den Film betrachtet, spürt man das. Die Erfahrung von Stromboli heute zeigt auf fast entblößende Art, was es bedeutet, wenn ein Filmemacher etwas von einem Film will. Wenn eine zu große Ambition auf ein riesiges Können trifft statt wie man es heute so oft sieht: Eine fehlende Ambition mit fehlendem Können umgesetzt wird. Der Film zeigt mit dem Vulkanausbruch nicht nur eine Naturgewalt, er ist selbst eine. Vieles in Stromboli arbeitet über das Wechselspiel aus innerem Schmerz und äußerem Ausbruch. Dabei wagt Rossellini die offene Emotionalität eines Widerspruchs, die Filmemachern, die heute in ähnlichen Konflikten arbeiten, oft fehlt: Der Glaube daran, dass das Kino in der Fiktion Realität sein kann.

Schon zu Beginn des Films, als der Soldat und Fischer Antonio hinter einem Stacheldrahtzaun vor einem Flüchtlingslager steht und versucht, die dort festgehaltene Litauerin Ingrid Bergman zu küssen, schneiden sich das Innen und das Außen an ihrer Unmöglichkeit und am Begehren der Überwindung ihrer Grenzen. Hier die festgesetzten Regeln, man darf nicht am Zaun stehen, man darf den Zaun nicht übertreten, dort das leidenschaftliche, bisweilen blinde Potenzial einer körperlichen Nähe, einer gemeinsamen Zukunft. Der Zaun hält die Emotionen innen, der Lauf der Dinge, die Natur, brechen daraus aus. Rossellini übersetzt diesen Zweikampf in eine Verzweiflung, die auch zwischen Fiktion und Dokumentation stattfindet. Die Fiktion ist das Gefängnis, die Welt ist der Ausbruch. Das bedeutet aber auch, dass die Fiktion sicherer ist. Deshalb werden ja Drehbücher geschrieben. Also übersetzt Rossellini diesen Konflikt in einen filmischen Zweikampf, eine filmische Sprache. Immer dann, wenn Ingrid Bergman, die an der Seite von Antonio auf der titelgebenden Fischerinsel jenseits ihrer Erwartungen ans Leben in Panik verfällt, aus der Fiktion ausbricht und das Land, ihrer Umgebung in sich aufsaugt, gibt es einen Funken von Hoffnung, eine Veränderung zum Besseren oder Schlechteren oder sagen wir ein Leben in ihrer Figur. Das gilt zum Beispiel für das Ende, als Bergman eine Nacht im Aschesand verbringt und am nächsten Morgen fast gleich des Wunders am Ende von Viaggio in Italia zu sich kommt. Dort wirkt die Welt auf die Fiktion ein. Das heißt man könnte das sehen, vielleicht tut sie es auch nicht, denn Rossellini zeigt uns einfach die Wirkung der Natur auf den Menschen, aber dieser Mensch könnte sich darauf folgend auch eine neue Illusion, Fiktion stricken. Auch ihre Begegnung mit den Arbeitern der Insel, die Rossellini von den starren Gesichtern echter Inselbewohner spielen lässt, ist ein solcher Zweikampf. Die Fiktion beherbergt die Vorurteile und die Distanz, die Dokumentation den Blick, der distanziert sein kann, aber nicht muss. Es ist die Abgeschlossenheit einer Idee und die Offenheit einer Arbeit. Aus dieser Begegnung heraus entsteht ein seltener Moment der Freude, als ein Baum in der Wohnung platziert wird. Eine Überwindung zwischen den Grenzen, die Natur in der Zivilisation, ein Öffnen des Stacheldrahtzauns.

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Doch Bergman wankt unter der schwindenden Distanz, unter dem verblassenden Schauspiel, das sie selbst braucht und anwendet, um an Geld zu kommen. Sie verführt die Männer offensichtlich angezeigt als Fiktion, als Flucht vor (dieser) Realität. Und als ihr Mann ihr zeigt wie ein Frettchen einen Hasen tötet, kann die Kamera von Rossellini gar nicht nahe genug ans Geschehen, denn für ihn heißt Natur auch Überwindung des Spiels, der Distanz. Daher kommt auch das Gewicht des Films. Es ist nämlich nicht so, dass hier die reichen Städter mit einer Yacht angefahren kommen und einen Film über das Elend drehen. Nein, vielmehr tun sie das, aber liefern sich dem aus, was sie dort finden. Sie berühren es. Sie machen keinen Film über etwas, sondern mit etwas. Fast exemplarisch, die eigentlich etwas lächerliche und dennoch nie so wirkende Szene, als Bergman panisch von Mauer zu Mauer rennt und schreit: „I have to go out.“. Die Kamera in dieser Szene blickt von oben auf sie herab, während sie außer in ganz wenigen Ausnahmen (wie zum Beispiel bei den Musikern, die ein Lied für Bergman spielen) immer eher untersichtig oder auf Augenhöhe auf die Bewohner der Insel blickt. Einmal lässt Rossellini Bergman auf dem Höhepunkt ihrer emotionalen, panischen Künstlichkeit auf ein Kind treffen. Es sitzt auf einer Treppe und reagiert nicht auf die Schauspielerin. Es sagt: „No.“ und lässt sich vom Schauspiel schütteln, es trifft Bergman auf einer anderen Ebene, in einer Unmöglichkeit, die die Darstellerin fast vorführt. Es ist eben kein Kino des Glauben-Machens, sondern das Glauben-Hinterfragens. In Zeiten, in denen einen Marketingkampagnen zu Oscarfilmen und Kritiker (der Unterschied verblasst…) erzählen wollen, dass Filme früher so oder so ausgesehen haben, müsste man gleich dem Kind auf den Stufen sitzen, starren und antworten: „No.“.

Es gibt jene Szenen, in denen Bergman von Verzweiflung getrieben durch den Ort torkelt, die Kamera wie an ihr klebend, mit all dem Raum und dem Respekt vor der Fiktion ihres Spiels, das von Rossellini mehr und mehr wie eine Machtlosigkeit gegenüber der erbarmungslosen Realität von Stromboli montiert wird. Sie weint, sie hadert, sie gestikuliert, ihre Hand ballt sich kurz vor Schmerz, es ist ein Schauspiel, das alles gibt und doch versagen muss. Genau wie die Illusion ihrer Wohnung, die natürlich nicht bestehen bleibt im Kinobild von Rossellini. Die Natur wird sie zerstören. Eine Natur, die natürlich auch eine Fiktion ist, die aber nicht so gefilmt wird. Der Vulkanausbruch, die kreisenden Vögel, die rollenden Steine. Genau hier findet sich etwas, das im zeitgenössischen Kino oft hinter einem Zynismus, einem fehlenden Glauben an das Bild oder einer Ohnmacht zurücktritt. Der vom Film getragene Eindruck, dass das, was wir sehen, die Gefühle der Wirklichkeit in sich trägt. Dass es in einem Bild um etwas geht, dass man etwas zeigt, weil es so ist. In dem Augenblick, in dem Filmemacher sich gleich relativierenden Theoretikern hinter ihrer eigenen Subjektivität verstecken, verlieren ihre Einstellungen an Gewicht. Was von Nöten ist, ist der unbedingte Glaube, an die Realität eines Bildes. Das, was wir da sehen, passiert.  Ein Vulkanausbruch ist dafür ein sehr gutes Beispiel, weil man ihn zumindest ohne visuelle Effekte nicht drehen kann, wenn er nicht wirklich passiert. Von Werner Herzog bis zum Beginn von Pedro Costas Casa de Lava, an dem Found Footage Material brennender Lava zu sehen ist, fühlen Filmemacher immer den mystischen Ruf des Feuers, das in sich und seiner Realität jene Illusionen trägt, die man niemals herstellen könnte. Man kann – wie Rossellini hier – Rauch erzeugen oder brennende Steine ins Bild werfen – man kann aber keine Totale machen von Steinen, die ins Meer rollen, von über Feuerströmen kreisenden Vögeln, von einer riesigen Aschewolke über dem Meer. Man kann keine Nahaufnahme von echtem Feuer machen, ohne dass es brennt. Man kann einzelne Elemente fiktional montieren, ja, man manipuliert zwangsläufig, aber Rossellini montiert sie so, dass er das Loch dazwischen betont, die Lücke zwischen der Kinoillusion und dem, was sie betrachtet, den Unterschied, den Widerspruch und Konflikt, der jener von Bergman ist und jener des Films. Die Kamera und die Welt, Reichtum und Armut, Emotion und Sachlichkeit, die alte und die neue Welt. Es geht hier also nicht darum, dass der Film eine Realität zeigt. Es geht darum, dass er das zeigt, was Film zur Realität fehlt. Das Begehren durch den Stacheldraht zu küssen, die Echtheit zu berühren. Der Blick auf einen Menschen, der jenseits des Kinos existiert, untermalt mit der überdramatischen Musik von Renzo Rossellini. Er trennt diese Elemente mit einem Komma, kaum spürbar und doch angezeigt. Damit schafft er keine Realität oder Objektivität, aber er zeigt  das Potenzial des Kinos an, diese Dinge in sich zu tragen, sie wirklich zu zeigen.

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Am eindrücklichsten zeigt sich das womöglich in der Thunfischszene, der Mattanza, dem Abschlachten der rasenden, fast vulkanisch ausbrechenden Fischschwärme, die zwischen den Fischerbooten eine äußere Panik erzeugen, ein Wasserinferno mit Fontänen von Flossen im Überlebenskampf. Bergman beobachtet dieses Schauspiel und Rossellini montiert diese Szene in Mitten einer kleinen Hoffnung auf ein besseres, fiktionales Zusammensein, inmitten der Liebesgeschichte des Films. Am Rand des Geschehens also die Fiktion, das Schauspiel, das Melodram inmitten der Natur, für einen Augenblick Hoffnung, dann aber die komplette Vernichtung dieser, als das blutige Meer auf die entsetzt starrende Schauspielerin platscht. Rossellini baut diese Szene auf, er lässt sich Zeit, letztlich erzeugt er den Konflikt, aber in zwei kurzen Bildern, die jedem noch so ignoranten Filmzuseher und Schubladendenker ein für alle mal sagen sollten, dass es zwischen Dokumentation und Fiktion keinen Unterschied gibt in der Arbeitsweise eines Films, sie existieren in ihrer Unterschiedlichkeit gleichzeitig, sie arbeiten zusammen oder wie im Fall von Stromboli gegeneinander. Diese zwei Bilder sind: Das aufbrausende Meer und der angstvolle Blick von Bergman in das Meer. Es gibt keine Möglichkeit, dass diese zwei Dinge nicht hintereinander montiert werden, das eine Bild ist nicht ohne das andere. Plötzlich wird das dokumentarische Meer, der nahende Thunfischschwarm, ein fiktionales Drama und Bergmans gespielte Reaktion darauf, eine Reaktion auf etwas Wirkliches. Nun wird Bergman in dieser Szene ganz entgegen der Ideale des größten Rossellini-Liebhabers André Bazin nicht zusammen mit den Tieren in einem Bild gefasst, sondern eigentlich schon mit dem Potenzial einer filmischen Lüge durch Schnitte davon getrennt. Es könnte sein, dass Bergman gar nicht vor Ort war, als die Mattanza abgehalten wurde. Aber in Stromboli geht es genau darum: Die Differenz zwischen einer Reaktion und ihrem Grund. Selbst als Bergman früher im Film den vom Gatten gebrachten Fisch mit Abscheu betrachtet, verharrt die Kamera lange nur auf ihrem Gesicht, ehe ein Schwenk und eine Bewegung ihrerseits die Lücke schließen, zumindest formal. Hier Bergman, das Gesicht aus dem tausende Kinoträume bestehen, der Star, ihr Blick, dem man gelernt hat zu folgen, der so etwas wie Identifikation sein soll, zumindest einmal Identifikation war und dort das Meer, unbeeindruckt, brutal. Dazwischen eine Unvereinbarkeit, die auch eine filmische ist und zwar nicht zwischen Dokumentation und Fiktion, sondern zwischen der Idee und dem Sehen, dem Kino, das die Umgebung beherrschen will und jenem, das mit ihr arbeitet. Der innere Schmerz und der äußere Ausbruch, das sind dann Emotionen, die sich genau in der Leerstelle zwischen der Idee und dem Sehen manifestieren. Wenn man sich Filme wie Few of Us von Sharunas Bartas oder Fort Apache von John Ford ansieht (um nur zwei Filme einer riesigen Geschichte zu nennen), dann kennt man diese Leerstelle zwischen dem Schauspieler und seiner Umgebung. Das Aufeinandertreffen von einer fiktionalen Gestalt und einem dokumentarischen Raum. Das ist etwas anderes, als die Arbeit mit Nicht-Schauspielern, denen fiktionale Szenen vorgegeben werden wie etwa bei Flaherty oder Costa. Narrativ kann man damit sehr unterschiedlich umgehen, Rossellini macht diese Leerstelle zu einem tragischen Konflikt, in dem schließlich innere Ausbrüche äußerlich angezeigt werden und sich äußere Harmonien im Innenleben widerspiegeln.

Wenn Bergman am Ende des Films nach Gott schreit, dann ruft sie auch nach einer Illusion, nach der Fiktion, die ihr unter den Füßen weggezogen wird im fiktionalen Spielfilm Stromboli von Roberto Rossellini. Oder eben nach der Realität, der sie ausgesetzt wurde in der Dokumentation Stromboli von Roberto Rossellini.

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  58. A person necessarily lend a hand to make significantly posts I would state. This is the very first time I frequented your web page and so far? I surprised with the research you made to make this actual submit amazing. Fantastic task!

  59. This is starting to be a little bit further subjective, yet I considerably prefer the Zune Market. The interface is colourful, includes even further aptitude, and some great functions like ‚Mixview‘ that allow your self instantly look at related albums, audio, or other buyers related towards what you’re listening towards. Clicking on just one of those will middle on that item, and one more mounted of „neighbors“ will arrive into view, enabling yourself to navigate in excess of exploring as a result of similar artists, songs, or buyers. Chatting of people, the Zune „Social“ is on top of that Wonderful entertaining, enabling on your own come across many others with shared preferences and getting to be buddies with them. Oneself then can pay attention in direction of a playlist generated dependent on an amalgamation of what all your buddies are listening in direction of, which is too interesting. All those apprehensive with privateness will be relieved to comprehend by yourself can protect against the community in opposition to watching your individual listening routines if you therefore select.

  60. Thank you for your entire efforts on this website. My mother delights in making time for internet research and it’s really easy to understand why. I learn all about the compelling tactic you present priceless steps on this web blog and improve participation from visitors about this subject matter so my daughter is without question discovering a great deal. Take advantage of the rest of the year. You’re the one carrying out a useful job.

  61. Zune and iPod: Maximum persons compare the Zune towards the Touch, nevertheless soon after observing how slender and amazingly lower and light it is, I consider it towards be a in its place distinctive hybrid that combines attributes of possibly the Touch and the Nano. It truly is Quite colourful and magnificent OLED screen is marginally lesser than the contact screen, nonetheless the player itself feels relatively a little bit smaller and lighter. It weighs in excess of 2/3 as significantly, and is drastically more compact inside width and peak, When remaining particularly a hair thicker.

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  63. Arms down, Apple’s application keep wins via a mile. It truly is a substantial selection of all forms of programs vs a rather unhappy quantity of a handful for Zune. Microsoft contains Designs, especially inside of the realm of games, nonetheless I am not certainly I would require towards bet upon the foreseeable future if this characteristic is substantial to your self. The iPod is a a great deal greater option within just that scenario.

  64. Wonderful web site. Plenty of useful info here. I am sending it to a few buddies ans also sharing in delicious. And obviously, thank you in your effort!

  65. The fresh Zune browser is remarkably optimistic, nevertheless not as Great as the iPod’s. It performs properly, nonetheless is not as instantaneous as Safari, and incorporates a clunkier interface. If on your own sometimes system on having the internet browser which is not an issue, nonetheless if you might be creating towards read the world wide web alot against your PMP then the iPod’s larger sized exhibit and greater browser may well be sizeable.

  66. If you’re still on the fence: seize your favored earphones, brain down in the direction of a Easiest Invest in and ask in the direction of plug them into a Zune then an iPod and watch which 1 sounds far better to on your own, and which interface creates on your own smile further more. Then you are going to notice which is instantly for yourself.

  67. I will equipment this examine to 2 products of men and women: present-day Zune property owners who are thinking of an up grade, and people today hoping in direction of determine amongst a Zune and an iPod. (There are other players well worth looking at out there, including the Sony Walkman X, nonetheless I expect this gives your self enough info to deliver an informed conclusion of the Zune vs gamers other than the iPod line as well.)

  68. Involving me and my husband we’ve owned more MP3 avid gamers higher than the a long time than I can depend, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, and many others. But, the final several decades I’ve solved down toward 1 line of players. Why? Since I was happy toward find how well-designed and enjoyable to retain the services of the underappreciated (and greatly mocked) Zunes are.

  69. Hmm it appears like your website ate my first comment (it was super long) so I guess I’ll just sum it up what I had written and say, I’m thoroughly enjoying your blog. I as well am an aspiring blog writer but I’m still new to the whole thing. Do you have any helpful hints for inexperienced blog writers? I’d genuinely appreciate it.

  70. Apple at present has Rhapsody as an application, which is a Terrific get started, still it is by now hampered by means of the incapacity toward keep locally on your iPod, and consists of a dismal 64kbps little bit rate. If this variations, then it will fairly negate this advantage for the Zune, however the 10 songs for every month will continue to be a substantial furthermore in just Zune Pass‘ desire.

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

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  73. This is turning into a little bit much more subjective, still I considerably desire the Zune Sector. The interface is colourful, is made up of even more aptitude, and some neat features including ‚Mixview‘ that permit yourself suddenly perspective equivalent albums, audio, or other end users related toward what you are listening towards. Clicking on one particular of people will heart upon that merchandise, and a further set of „neighbors“ will appear into belief, allowing for on your own toward navigate about investigating by means of equivalent artists, audio, or end users. Talking of consumers, the Zune „Social“ is far too exceptional exciting, letting you locate others with shared tastes and turning out to be good friends with them. You then can pay attention in the direction of a playlist intended dependent upon an amalgamation of what all your friends are listening to, which is way too enjoyable. People fearful with privateness will be relieved in direction of realize yourself can avoid the general public towards viewing your person listening behavior if by yourself thus get.

  74. Among me and my husband we’ve owned additional MP3 gamers more than the yrs than I can depend, like Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etcetera. But, the ultimate couple of many years I have fixed down towards just one line of avid gamers. Why? Mainly because I was delighted to find how well-designed and fun to employ the service of the underappreciated (and commonly mocked) Zunes are.

  75. Hi, Neat post. There is an issue along with your site in internet explorer, might check this… IE still is the market leader and a big part of other folks will leave out your magnificent writing due to this problem.

  76. If you are continue to on the fence: get your preferred earphones, mind down to a Most straightforward Obtain and talk to toward plug them into a Zune then an iPod and see which just one appears far better in direction of yourself, and which interface generates yourself smile additional. Then you will recognize which is right for by yourself.

  77. Yesterday, while I was at work, my cousin stole my iPad and tested to see if it can survive a 25 foot drop, just so she can be a youtube sensation. My apple ipad is now destroyed and she has 83 views. I know this is completely off topic but I had to share it with someone!

  78. I am curious to find out what blog platform you’re utilizing? I’m having some small security problems with my latest website and I’d like to find something more safeguarded. Do you have any recommendations?

  79. If you might be continue to upon the fence: get your most loved earphones, mind down towards a Suitable Invest in and check with towards plug them into a Zune then an iPod and check out which one sounds improved towards oneself, and which interface can make by yourself smile even further. Then you will recognize which is directly for yourself.

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