Strange, this fascination with artworks that came out of Nazi Germany. The search for the occasional object that was not ruined by its contact with propaganda. And yet, at the same time, the attempt to decipher signifiers which reveal that this work was created WITHIN that milieu. Signs of "inner emigration"? Or just an awareness of tacit participation in a world impregnated by death and destruction. The smile of the beautiful victim of suicide...
All the missing voices and faces that make their presence visible in this film through their absence: Stefan Zweig, Max Ophuls, even Peter Lorre. So much has to stand for so much here. The film is beautiful: sweeping long shots, subtle crossings, veils. The incredible cynical line "Let's drink to the morality of the Bourgeoisie!".
Romanze In Moll is a miracle of style. Having read about it for years, though, I was not surprised by the actual object. It looked pretty much like I imagined it would. Better than Ophuls? No way, José.
All the missing voices and faces that make their presence visible in this film through their absence: Stefan Zweig, Max Ophuls, even Peter Lorre. So much has to stand for so much here. The film is beautiful: sweeping long shots, subtle crossings, veils. The incredible cynical line "Let's drink to the morality of the Bourgeoisie!".
Romanze In Moll is a miracle of style. Having read about it for years, though, I was not surprised by the actual object. It looked pretty much like I imagined it would. Better than Ophuls? No way, José.