Widerwillen im Film

Einige skizzenhafte Gedanken zum Widerwilligen im Film, vielleicht auch zum Verachtenden.

Wir denken an die abweisenden Küsse von Jeanne Moreau. Ihre Augen hassen die Welt und in ihren Augen verliebt man sich. Diese Szene im Regen bei La notte von Michelangelo Antonioni, diese mächtige Hilflosigkeit, dieses Nicht-Wollen und dennoch über die nächtlichen Jazz-Straßen gehende in Ascenseur pour l’échafaud von Louis Malle. Es ist eine Würde und Schönheit, die diese nicht akzeptieren kann. Deshalb ist es auch so unüberlegt, wenn Filmemacher sie manchmal als „Schönheit“ verwenden. Jeanne Moreau muss sich selbst hassen. Louis Malle, ein Filmemacher, der immer wieder das Widerwillige einfängt, jenes Widerwillige, das immer dann die Seele touchiert, wenn es auf das Leben an sich gerichtet ist wie in Le feu follet. So wie es sich mit Jeanne Moreau und dem Sex verhält, so ist es mit Gary Cooper und der Gewalt. Gary Cooper geht einen Schritt aus der Leinwand in den Zuschauersaal, wenn er Gewalt anwenden muss, er drückt dabei eine Unbeholfenheit und Stärke zugleich aus und genau darin liegt die Bedeutung dieses Widerwilligen, es ist eine zweite Ebene auf klaren Überzeugungen, es ist der Zweifel vor der Angst, der bei Cooper in Filmen wie Friendly Persuasion oder High Noon so deutlich zum Vorschein tritt. Es ist auch eine amerikanische Idee: Der Mann, der tut, was er tun muss. Jede Gewalt, die angewendet wird, will vermieden werden und daraus entsteht das Aufplatzen der Illusion, die man von sich selbst aufbaut, es entsteht Selbsthass, der im amerikanischen Kino oft vergessen wird, nicht aber bei Gary Cooper.

Gary Cooper Grace Kelly

Dieser Zweifel am Tageslicht in den letzten Stunden der Nacht, das Vergessen der Nacht in der Sonne; großes Filmemachen findet die Dunkelheit im Glanz der Sonne. Es ist die Müdigkeit der Bewohner von Fontainhas bei Pedro Costa, die nicht wie in Hollywood von A nach B gehen können, da sie zu müde sind, zu müde, um einen Liebesbrief zu schreiben, es sind die versteckten Frauen bei Mizoguchi, die Frauen bei Mizoguchi, auch wenn sie sich nicht verstecken, sie scheinen nie gefilmt werden zu wollen, es sind die Figuren bei Renoir, die keine Lust auf das Framing haben, die das Bild verlassen wollen, oft auch die Welt verlassen wollen im Anflug von Gewalt oder Liebe, es ist die Art wie Jacques Tourneur in Canyon Passage einen Western inszeniert, als hätte er keine Kraft, keine Lust auf dieses Genre, die Beiläufigkeit des Lebens, die Geschwindigkeit, die keinen Film zulässt, Film, der den fatalen Augenblick festhalten kann und der fatalen Schönheit in ihrem Zerfall beisteht und sie dabei doch entblößt. Die Schönheit des Kinos ist widerwillig, sie ist eine Illusion. Widerwillige Illusionen wie bei Abbas Kiarostami, bei dem der Zweifel am Licht jederzeit mitschwingt und ein neues Licht generiert. In Canyon Passage scheinen die Figuren schneller zu gehen, als in anderen Western, sie sprechen ihre Zeilen trocken herunter, aber das Trockene ist nicht unbedingt das Widerwillige, denn das Trockene strahlt eine gewisse Souveränität aus, eine Abgeklärtheit gegenüber der Machtlosigkeit, während das Widerwillige deutlich mehr leidet und deutlich weniger akzeptiert.

Nehmen wir drei Szenen, in denen das Widerwillige hervortritt. In Opening Night muss Gena Rowlands betrunken auf die Bühne treten. In ihrem Widerwillen und ihrer Verachtung taucht ihr Wille auf, ihre Kraft und Würde, denn das Widerwillige ist keineswegs die Ausnahme, es ist die Regel und das nicht nur in diesem Film. Film ist hier in der Lage einen unsichtbaren Kampf gegen innere Kräfte sichtbar zu machen. Selbsthass, Trägheit oder Angst können (im Kino) zu Hindernissen werden, die weit über die billigen Drehbuchkniffe von teuren Drehbuchratgebern hinausreichen. Es ist die Zeit, die nicht nur in Opening Nights dieses Hindernis bedingt, Zeit als auf uns zukommender Druck, als Schwüle, der wir uns nicht entziehen können, Schwüle, die unsere Schönheit zerfließen lässt; es ist Film, der dieses Zerfließen in Schönheit verwandeln kann. Die zweite Szene stammt aus Anchorman: The Legend of Ron Burgundy von Adam McKay. Steve Carell als Brick Tamland ist an der Reihe mit dem Versuch, ein Date mit der neuen Nachrichtensprecherin Veronica Corningstone zu bekommen. Er will das gar nicht. In dieser herrlich komischen Szene offenbart sich die ganze Absurdität des Widerwillens, der eben nicht zuletzt darin besteht, dass man so viele Dinge tut, die keinen Sinn ergeben. Beim Sprechen seines fehlerhaft auswendig gelernten Anmachspruchs bewegt sich Carell schon leicht nach hinten, hier wird der Widerwille zur Flucht während man nach vorne geht, ein Vertigo-Effekt des menschlichen Verhaltens. Gibt es einen Schwindel im Widerwillen? Schwindel als Lüge, Schwindel als Krankheit. Es ist sicher eine Lüge dort, eine Lüge, die sich selbst belügt, aber noch viel mehr den Gegenüber, denn der kann – im Gegensatz zur Kamera – den Widerwillen oft nicht erkennen. Das ist es auch, was den Widerwillen so geeignet für das Kino macht. Es ist eine Chance für den Kinematographen etwas Unsichtbares zu entdecken, was sich nur durch die Kamera festhalten lässt; nur durch das Kino können wir den Widerwillen in einer fremden Person wirklich spüren und ihre Lüge zu unserer Wahrheit werden lassen. Mit dem anderen Schwindel verhält es wie in Vertigo von Alfred Hitchcock, denn das Vertrauen in Überzeugungen und Bilder löst sich mit der Zeit und in der Zeit und durch die Zeit auf. Dieses schwindende Vertrauen bricht den Willen, es ist als würde man den Partner beim Betrug erwischen, dann schwindet der Wille zur Liebe wie am Ende von La notte, bei dem der Widerwille allerdings schon vor dem Betrug kommt. Wenn Jimmy Stewart am Ende auf den Turm klettern muss, dann ist da ein Wille und das Wider liegt im Ungreifbaren, in der Erinnerung, im Psychologischen. Hitchcock verbindet den Widerwillen auch mit dem Glauben an das Übernatürliche, Übersinnliche. Ohne diesen Glauben herrscht oft ein Zweifel, der das Überwinden des Widerwillens nicht zulässt. Das Kino als Über-Sinn, also müssen wir ans Kino glauben, um unseren Widerwillen aufzuheben, aber das Kino ist tot, also glauben wir noch an die Präsenz seiner Geschichte? Ein Widerwille gegenüber der Gegenwärtigkeit der Gegenwart, eine Emotion des Museums so wie Vertigo.

Gena Rowlands Opening Night

Wir denken an den Widerwillen zur sozialen Interaktion in Cristi Puius Aurora, an die fehlende Bereitschaft zu einem normalen Leben in Filmen wie Casino von Martin Scorsese oder Zero Dark Thirty von Kathryn Bigelow, wir denken an die Selbstzerstörung von Erich von Stroheim, bei dem sich Widerwillen gegenüber des Anderen in jeder Geste manifestiert und der Kleidung immerzu abschätzend trägt und wie Jeanne Moreau genau darin seine Würde findet, die driftende, treibenden Gestalten des Kinos, die nicht genau wissen, wohin es sie führt, wie Mouchette, die konsequent nur im Selbstmord sein kann, wie die Erinnerung (oder mehr) einer Liebe in Solaris von Tarkowski, die wir hinter Türen sperren, gewaltvoll, im Kino ist Widerwillen immer viel gewaltvoller als im echten Leben, weil im Kino das Gefühl, der Impuls reagiert, wie in den Melodramen von Douglas Sirk, in denen ein riesiger Spalt zwischen dem was man will und dem was man rational tun muss, klafft.Und dann gibt es da Ingmar Bergman. Bei ihm spielt sich immerzu ein Melodram und die Vernichtung dieses Melodrams zur gleichen Zeit ab. Das Melodram, das sind seine Naheinstellungen und die Schreie in seinem Kino, diese Blicke in die Seele, plötzliche Panik, Ausbrüche des Gefühls, der Trauer. Und der Rest, das ist immerzu der Widerwille, jenes Element, das diese Gefühle nicht herauslassen will, das abgehärtete oder abgeklärte Versteckspiel der Emotionen, das sich vielleicht mit Existentialismus beschreiben oder zumindest damit erklären lässt. Der heftigste Ausbruch dieses Widerwillens sind das Schweigen, das Lachen und das Spielen der Figuren bei Bergman. Ihr Lachen versteckt oft ein Grauen, ihr Spielen vergisst es und transformiert es und macht es dadurch greifbar und ihr Schweigen ist genau jener Druck der Zeit, der uns verstummen lässt, ein Widerwille zu sprechen, ein Widerwille gegenüber sich selbst, es ist nicht nur Persona, dieses Echo einer Selbstverachtung, einer Angst und eines unterdrückten Melodrams, das selbst zum Melodram wird, findet sich von Kris bis Saraband. Der Unterschied scheint mir nur, dass Bergman manchmal den Willen hatte, diese Gefühle zu filmen und manchmal den Widerwillen zu filmen, selbst gefilmt hat. Letztere sind seine besseren Filme.

Erich von Stroheim

Dieser Konflikt dominiert das Kino und egal was einem schlaue Industrielehrende verkaufen wollen, das Kino ist dafür geboren, diesen inneren Konflikt darzustellen: Was man will und was man nicht kann, was man kann und nicht will. Darunter liegt die zitternde Schwäche einer Wahrheit, die zerfließt und die wir nur für flüchtige Momente der Einsamkeit erspüren können, in einem Schnitt bei Godard, den Augen Gary Coopers, dem Gang von Jeanne Moreau oder Robert Mitchum oder einer Kamerabewegung bei Josef von Sternberg.

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  130. The refreshing Zune browser is remarkably superior, nonetheless not as constructive as the iPod’s. It works nicely, nevertheless is just not as prompt as Safari, and contains a clunkier interface. If you from time to time application on having the net browser that’s not an issue, still if you happen to be planning towards read through the internet alot against your PMP then the iPod’s larger exhibit and better browser may perhaps be substantial.

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  140. The clean Zune browser is incredibly Great, however not as Fantastic as the iPod’s. It performs effectively, yet is just not as immediate as Safari, and is made up of a clunkier interface. If your self often software on utilizing the internet browser that’s not an issue, yet if you are developing toward go through the net alot against your PMP then the iPod’s more substantial show and greater browser may perhaps be significant.

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  142. This is becoming a bit far more subjective, however I a lot want the Zune Current market. The interface is colourful, contains more flair, and some amazing capabilities together with ‚Mixview‘ that allow your self suddenly look at identical albums, audio, or other end users very similar in direction of what you are listening toward. Clicking upon 1 of all those will center on that product, and yet another established of „neighbors“ will appear into view, allowing for your self in the direction of navigate about exploring as a result of similar artists, music, or people. Chatting of buyers, the Zune „Social“ is too perfect fun, letting you identify other folks with shared preferences and turning out to be good friends with them. Your self then can pay attention toward a playlist created based on an amalgamation of what all your buddies are listening toward, which is as well fascinating. These anxious with privacy will be relieved in direction of understand your self can steer clear of the general public in opposition to observing your person listening routines if on your own as a result pick out.

  143. Apple already contains Rhapsody as an application, which is a superior get started, but it is at present hampered via the inability in the direction of shop domestically upon your iPod, and incorporates a dismal 64kbps little bit value. If this adjustments, then it will rather negate this ease for the Zune, still the 10 audio per thirty day period will still be a large moreover inside Zune Pass‘ want.

  144. Apple at this time contains Rhapsody as an application, which is a fantastic commence, still it is presently hampered by means of the lack of ability to retailer domestically on your iPod, and is made up of a dismal 64kbps little bit cost. If this changes, then it will relatively negate this convenience for the Zune, still the Ten music per month will nonetheless be a huge in addition within just Zune Pass‘ want.

  145. This is taking a bit a lot more subjective, nonetheless I considerably favor the Zune Industry. The interface is colourful, contains excess aptitude, and some neat options including ‚Mixview‘ that make it possible for yourself abruptly view related albums, music, or other buyers related in direction of what you are listening to. Clicking upon just one of individuals will middle upon that product or service, and another fastened of „neighbors“ will arrive into look at, permitting on your own in direction of navigate in close proximity to studying as a result of equivalent artists, music, or customers. Speaking of buyers, the Zune „Social“ is way too excellent enjoyable, enabling oneself track down some others with shared tastes and turning into buddies with them. On your own then can hear toward a playlist created dependent on an amalgamation of what all your mates are listening in the direction of, which is as well fascinating. Those anxious with privateness will be relieved in the direction of know by yourself can steer clear of the public versus viewing your personal listening practices if on your own hence opt for.

  146. Thank you, I’ve recently been searching for info approximately this subject for ages and yours is the best I’ve found out till now. But, what concerning the conclusion? Are you positive concerning the source?

  147. Apple at present has Rhapsody as an application, which is a Wonderful start off, however it is previously hampered through the lack of ability toward store locally on your iPod, and has a dismal 64kbps little bit cost. If this improvements, then it will to some degree negate this usefulness for the Zune, nonetheless the 10 music for every month will continue to be a large additionally within Zune Pass‘ favor.

  148. Between me and my husband we have owned extra MP3 avid gamers earlier mentioned the years than I can depend, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, and so on. But, the last few yrs I have fixed down in direction of one line of gamers. Why? Due to the fact I was joyful in the direction of investigate how well-designed and enjoyable to employ the underappreciated (and broadly mocked) Zunes are.

  149. Hi, i read your blog from time to time and i own a similar one and i was just curious if you get a lot of spam feedback? If so how do you stop it, any plugin or anything you can advise? I get so much lately it’s driving me insane so any assistance is very much appreciated.

  150. Between me and my spouse we have owned further MP3 avid gamers more than the several years than I can rely, such as Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, and many others. But, the ultimate couple of decades I’ve settled down to a single line of players. Why? Because I was joyful towards examine how well-designed and fun in the direction of hire the underappreciated (and extensively mocked) Zunes are.

  151. Throughout the grand design of things you’ll secure a B- just for effort and hard work. Where exactly you lost me personally was on the specifics. As they say, details make or break the argument.. And it couldn’t be more correct right here. Having said that, allow me reveal to you precisely what did do the job. Your writing is quite powerful and this is probably the reason why I am taking an effort to comment. I do not make it a regular habit of doing that. Next, even though I can notice a leaps in reason you come up with, I am definitely not convinced of just how you appear to connect your details which inturn make the conclusion. For the moment I shall yield to your position but hope in the near future you actually link your dots much better.

  152. This is starting to be a bit even more subjective, yet I substantially favor the Zune Marketplace. The interface is vibrant, incorporates extra aptitude, and some neat options which includes ‚Mixview‘ that allow for yourself out of the blue perspective similar albums, audio, or other buyers identical towards what you happen to be listening in direction of. Clicking on just one of people will centre upon that products, and yet another mounted of „neighbors“ will appear into look at, allowing for yourself in direction of navigate in close proximity to exploring by comparable artists, audio, or users. Talking of end users, the Zune „Social“ is additionally excellent entertaining, allowing for on your own obtain other folks with shared choices and becoming good friends with them. By yourself then can hear to a playlist crafted based upon an amalgamation of what all your good friends are listening in the direction of, which is as well interesting. These anxious with privacy will be relieved in direction of know by yourself can protect against the community versus seeing your unique listening practices if you therefore choose.

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  155. If you’re nevertheless upon the fence: seize your most loved earphones, head down toward a Most straightforward Buy and inquire in the direction of plug them into a Zune then an iPod and view which a person seems greater in direction of you, and which interface makes on your own smile further more. Then you can expect to notice which is specifically for oneself.

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  157. Between me and my partner we have owned a lot more MP3 players over the a long time than I can count, which includes Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, and so forth. But, the last couple of many years I’ve resolved down in direction of just one line of avid gamers. Why? Since I was satisfied to come across how well-designed and enjoyable towards seek the services of the underappreciated (and widely mocked) Zunes are.

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