That "new" Berlin in the movie
Berlin, so Hort Man, be a city in transition. Whole quarters are stammered out of the ground. The run-down compressed face a facelift. The perception of the city hardly coincides with the economic and social reality. Because economic growth lags significantly behind compared to other bads and regions.
The elimination of subsidies and the degradation of industrial work straps have left a feeling of resignation in the labor market, which the Senate has been helplessly opposed for years. The image of the city is still on the way up. The German filmmakers help powerfully when it comes to lending to the old and new capital shine. Whether Tom Tykwers, Caroline Link or Detlev Buck, they all ensured that the Friedrichstrabe is right after the Lindenstrae the most tempted Strain Germany.
The direction of Berlin and the "Berlin Republic" is still open. Once you can see from the Time departed in their rough reportage "Generation Berlin" Already very exactly woman, where the journey goes: namely in the Oranienburg Strain. There it is supposedly that "Intellectual Berlin" meet. Charaud in the cafe orange between tachel and milk coffee. Apart from that, it is only clear that nothing is about traces of the plan that Berlin had decades firmly under control.
Funfteen years ago, the former "Frown" seen with all the other eyes. Under the "Sky of Berlin" (1986) was "West Berlin" The last exit before the final depression. Since the angels Cassiel and Damiel no longer wubed so much. Helplessly they saw a functionless city corner between barbed wire and wall, who did not find melancholy and depression. Alienated from reality, Wim Wenders expressed a feeling that went beyond the movie and the city. For traces was something of the yearning for authenticity in a world that manoved close to the edge of the information overkill.
In the words of the angel Cassiel, that sounded like this: "I liked a weight of me that the boundlessness picks up me, and makes me earth. I liked every step or windstob, now ‘, and, now’ and, now ‘say’ now." But where once the old Homer stumbled over the ethry of a bombed Potsdamer Platz, today the multiplexes and fantasies of the coarse investors Debis and Sony move out of the ground today.
And the German filmmakers at the end of the 20. Century clap enthusiastic applause. You want to be there, if it is necessary to banish the new Berlin on celluloid. And whether stone or glass, it is already true, at least in the film, the Friedrichstrabe or Potsdamer Platz looks pretty impressive. Where Wolfgang Becker ("life is a building yard") And Caroline Link ("Beyond Silence") Beginning made, now almost all others pull.
Even Lola runs in Tom Tykwers new movie Cross and across the city, just to land in the Friedrichstrabe. Started in Kreuzberg / Friedrichshain, it jumps to the area around the Nollendorfplatz, in order to rush to the corner at the Gendarmenmarkt as a Tomatenkenschupfra. With the cinematic preservation of the unity of the place that has nothing to do, but it does not matter. It only falls on a concern and meaningless handling of the city room.
To film a city, to make it to the protagonist, is called to direct the view of the viewer to certain places — which in turn becomes meaningful in a plot. Movies in the city are one "Education for seeing", which adapts to the respective state of the city landscape. In film history, this became particularly clear when the film managed the step of the year market attraction into the coarse film pale. Until the twenties, the film maybe was the adaquate art form par excellence, which on the challenges of the quantum leap in communication and mobilitat in the coal town of the starting 20. Century could react. The answer stroke: Assembly. The fragmentary reality was opposite a mounted and collaged film image. The modern age found its equivalent in the coal town. And the place of the coal town in turn was the movie.
At the moment Berlin is above all one: a charming backdrop. Where once Franz Biberkopf in Doblins "Berlin Alexanderplatz" With a sheer opponent fighting and Wim Wenders struggled with the consequences of a simulated world, the city is not much more than a speechless environment today. Clothing to look at, that’s not, but more. After the motto: somewhere MUB the action yes play. But whether Lola in Berlin or Hamburg or Munchen for the Hauser Kolt is really important. Even in Frankfurt, it’s probably still to find the Hub’s new construction of a bench, which was well on super-wide wall.
The new films are ambivalent. On the one hand fascinated, but on the other hand, spare against the city at the city. For example, Edward Berger remains with his "Gomez — head or number" As a precautionary drabs. From a wide range on the horizon of the TV tower at Alexanderplatz. He stands for the longing of the youthful main figure to leave the milieu from small criminalitat and bourgeoic tightness. But the leap into the city is denied him.
This motif is not particularly original, as little as the idea of Detlev Buck, to portray the city once more as a place of temptation. In his new movie "Love your next", which soon comes to the cinema, it’s about lost souls. Berlin is here something like the atrium for Holle. It smokes and ninety feature filminide, which one is needed to be a bad copy of Martin Scorses "Taxi Driver" to think. But the Grand Hotel in the FriedrichStrabe simply does not want to look like the modern Babel, there may be painted out of all corners and ends like it. And then this aspect of the coarse town has already been presented comprehensive before seventy, eighty years in expressionism. It remains. In a city, the Walter Ruttmann in his "Symphony of the Grobstadt" (1927) once orchestrated to a multi-part concert, many films of the 90s stay speechless.
After Ruckwarts is occasionally open, for example in Margarete of Trottas sentimental "promise" (1995), but the directors have not to be reported much. Also Wim Wenders, whose "Sky over Berlin" (1986) maybe one of the most beautiful city portrays is overpatient, managed after the turn "Far away, so Close" (1992) Not much more than a second list of his old idea. Therefore, until further notice: hardly anyone has something to say, but all want to be there when Berlin seems to be awakened from the deep sleep. Because maybe the new splendor of the capital also falls away from you.