Nichts ist egal

The Princess And The Warrior (2000)

– directed by Tom Tykwer

„The Princess and the Warrior is subdued and moody, melancholic even. But Tykwer is still driven by the same preoccupations, and it does not come as a surprise that early on, Potente’s character gets run over by a massive 18-wheeler in a freak accident that is the result – you guessed it – of an outrageous chain of events involving a blind man, a gun store, and a petty thief by the name of Bodo (Benno Fürmann). In one of the most gruesome scenes I have seen in a very long time, Bodo saves Sissi’s life with an emergency tracheotomy. Hollywood lovers meet cute; Tom Tykwer lovers meet under trucks, gasping for air, sucking blood from holes they have cut into each other’s wind pipes. At the screening I attended, entire rows of New York’s finest film critics were squirming in their seats and shielding their eyes like schoolgirls. Of course, I only noticed this because I couldn’t bear to watch the screen myself.

Like the „flash forward” images of the lives Lola touches on her run through Berlin, the impact of the truck changes Sissi and Bodo for good. Sissi turns out to be a kinder, gentler Nurse Ratchet of a mental ward that resembles the one in One Flew Over the Cuckoo’s Nest so closely you expect Danny DeVito to shuffle around the corner any second. But the ward is home not only to the prerequisite maniacs and Tourette’s patients, but also to dark secrets and hidden histories. (Sissi’s name, by the way, is an allusion to a famous series of films starring Romy Schneider as Austrian Emperess. Thus the film’s original title, which translates as The Warrior and the Emperess.) Driven by ideas about fate, Sissi sets out to find her savior. Bodo, she learns, is a haunted widower who is planning a bank heist that will allow him escape to Australia with his brother.

The reckless speed of Run Lola Run obscured Tykwer’s skill at coaxing emotions from his actors and creating full-fledged characters. In The Princess and the Warrior we find out that he isn’t only good at breakneck flights over urban landscapes and thumping techno soundtracks, but also in twisting and intertwining fates as if they were giant Oktoberfest pretzles. Still, Tykwer’s first interest is always with the abstract, with the brief moments that can irrevocably alter destinies. „Nichts ist egal,” Tykwer has somebody say: „Nothing is meaningless,” and he means it. Anything can happen, and everything depends on everything else. The movie is set up like a romantic comedy with a darker side, but I distinctly remember the charge I felt when I realized halfway through the film that Tykwer was playing with the form and that a happy ending was by no means guaranteed. Depending on the decisions they make, the story of Sissi and Bodo could turn out very, very bad.

The Princess and the Warrior is by turns lovely, revolting, touching, stunning, and ridiculous. In scene after scene, Tykwer takes immense risks by pushing his ideas one step further than is prudent. The results of his confidence are sometimes jarring and incongruent, but they are always exhilarating, thanks to Tykwer’s courage and the strong performances by Potente and Fürmann. The Princess and the Warrior is alive in a way most movies aren’t; it’s a big baggy monster of a film that you may love or hate but shouldn’t miss. The outrageous story of these two survivors is an even more unsettling and rewarding experience than the visceral thrills of Lola’s high-speed run.”

source:

http://worldfilm.about.com/library/weekly/aa062801a.htm

Anunțuri

~ de AlinaT pe 03/12/2009.

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