Word: syberberg
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...seat theater of the Palais des Festivals, where the two dozen official selections are shown, film buffs file in at 1 in the morning for Hans-Jürgen Syberberg's rendering of Wagner's Parsifal. Nearly five hours later they stagger out into the dawn's hazy light, exhausted and exhilarated. In midafternoon, Menahem Golan, the Israeli producer who now heads his own distribution company, sits on a teeming Carlton terrace flanked by Stalin-era-size posters of his stars: Faye Dunaway, Robert Mitchum, Brooke Shields, Lou Ferrigno. "I have sold a million dollars in film...
Cast in the "American" style, but darkened by German guilt feelings about the country's recent past, the film becomes a kind of German Vietnam movie. But unlike Fasbinder (in The Marriage of Maria Braun and Lili Marleen), Schloendorff (in The Tin Drum), and Syberberg (in Our Hitler), director Wolfgang Petersen avoids discussing the complexities of the political, psychological, and cultural roots of the "German catastrophe" and presents, instead, a soldier's-eye view of the war. These boys do not see the battle as the culmination of Romanticism and Wagner or as the result of contradictions of the petty...
...Union City has other things on its mind. For a start, this is a film noir in garish, ominous primary colors; the design takes its cue from the camp surrealism of modern Germanic directors like Daniel Schmid and Hans-Jürgen Syberberg. More important, however funny-peculiar the plot, Union City tracks its characters' shabby lives and squalid passions so relentlessly that it becomes a portrait of lower-middle-class despair. And Lipscomb's performance is devastatingly acute. His gestures are just too broad, his harsh voice much too loud; Harlan's swagger and insecurity...
...Germany, a volume of modern myths that has almost Biblical significance for those that lived through The War and knew Nazi Germany; and for the younger generation, for whom the swastika and the "heil" are the lost trapping of a confusing, all too-recent past. Even Hans-Jurgen Syberberg's seven-hour nightmare, Our Hitler, with its pounding Wagner and Beethoven, acknowledges Oskar's drum. It beats in time to the modern German effort to recreate Hegel's sense of history, Goethe's sense of self, Nietzche's sense of strength and Gunter Grass' cheeky sense of post-modern myth...
...Amelie Syberberg follows this cue, in the last scenes of the film, stripping down to a white, flowing dress, hurrying past a projection of Frankenstein's bride. She sits on the moon, the stars above--out of human reach--she sits with her hands over her ears...