Regie:
Lars von TrierMuziek:
Joachim HolbekActeurs:
Jean-Marc Barr, Barbara Sukowa, Udo Kier, Ernst-Hugo Järegård, Erik Mørk, Jørgen Reenberg, Henning Jensen, Eddie Constantine, Max von Sydow (verteller) (meer)Samenvattingen(1)
Film over een naiëve Amerikaanse jongeman van Duitse afkomst die in naoorlogs Frankfurt denkt mee te kunnen helpen aan de wederopbouw. Het verhaal is gesitueerd in het Duitsland van na de Tweede Wereldoorlog. De jonge Amerikaan Leo Kessler krijgt een baan als conducteur in een nachttrein van de Duitse spoorwegonderneming Zentropa. Leo wordt gedreven door idealisme en de wil om een land in morele en psychische nood te helpen. Zijn figuur staat in contrast met de onverzettelijke mensen in zijn nieuwe omgeving. Tijdens zijn reis komt hij in contact met de mooie Duitse Katharina Hartmann, de dochter van Zentropa's directeur. Na het huwelijk tussen Leo en Katharina wordt hij opgenomen in haar familie en raakt de naïeve en deugdzame Leo verstrikt in een web van intriges. (A-Film Benelux)
(meer)Video's (1)
Recensie (4)
Instead of an explicit look at the war as such, Lars von Trier has opted for a more social/psychological film, in which he captures the hopelessness of the post-war situation in Germany very well. While the main story is undoubtedly suspenseful and even gripping in some moments, it is also interesting to see how the war and its consequences are seen by supporting characters (especially in the area of interpersonal relationships). It's certainly not Lars' best work, but the excellent visuals, some of the stronger moments, and the immersive effect in the narrative interludes give it an indelible place in Trier's filmography.
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The viewer's experience is somewhat spoiled by the fact that this is the imaginary climax of a trilogy whose first two parts were not released in the Czech Republic. I’m therefore reviewing this separately from them. Given the subject matter, I often thought of Holland's Europa Europa, during the screening, which is quite logical. Von Trier's formal exhibitionism here brings the combination of black and white and color film into the gears of the plot, the claustrophobic setting of the train compartments, so symbolic of the Holocaust, as if the schizophrenia of the first months after April 1945, viewed through the lens of a slightly naive American, were not enough. A challenging emotional film with a slightly surprising denouement.
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Trier's fascination with the surface may manifest itself unhealthily in this film, yet the processing of the deliberately clichéd and archaic romance got to me completely - a deep film regression into post-war Germany serves Trier primarily as a disillusioning metaphor for the destruction of human ideas and their constant abuse and butchery. Dirty, rusty and dilapidated scenery (often even theatrically exaggerated and deliberately styled to reveal its illusiveness) hosts Trier's withdrawn, yet extremely intense characters. Their confused efforts are covered by a captivating canvas, on which one again and again encounters the overwhelming force of history, rushing like a train along the tracks to the next point zero. Europe is a hypnotic film that uniquely captivated me with more so with its stylization than depth of thought. However, this does not detract whatsoever from its hideous beauty.
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Lars von Trier is a great filmmaker. There is little doubt about that. He has great ideas, which can be found Europa. His conception of post-war Germany is extremely interesting and original. The narrator's voice is excellent - if we can call him that - as it clearly dictates how the story will unfold. The countdown is just brilliant. And yet, the film couldn't captivate me enough to consider it a great work overall.
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