Pulling up, handstand, somersault-mortal - confident landing

For more than ten years, Werner Schroeter has been - for quite some time, even too long - the most significant, most interesting, most convincing, as well as the most convinced, director of alternative films, films commonly called "underground" - a definition that limits, vulgarizes and finally strangles them in his gentle embrace.

In fact, "underground" films do not exist. They exist only in the view of those who are used to neatly arranging everything on the shelves. In reality, films are not divided into black and white. There are people who make these films. They differ from each other not only in their films, but also in how much they feel the need to do something. Some do not need to receive a meaningless certificate of their “professionalism” in order to shoot films at 35 mm or 8 mm, because most often this certificate does not play any role.

However, the cultural industry - in this country, perhaps more influential than in others - has approved a straightforward division of directors into "professionals" and those who belong to the "underground", and monitors strict observance of this division. Once acting as an “underground”, the director should, apparently, to simplify matters, remain that way, preferably until the end of his days. None of the directors in the Federal Republic of Germany succeed in escaping from the ghetto, where they were identified by the press, which, we must give it its due, provides them with a comfortable stay. Someone from such a life becomes too lazy, someone is desperately cowardly. It all depends on individual characteristics. But seriously speaking, the stubbornness of the film industry, surprising in its unanimity, hanging labels on directors, destroys many talents. from the film by W. Schroeter “Neapolitan Brothers and Sisters” (1978)

Werner Schroter, whose future place in the history of cinema I, using a reference to literature, would have designated somewhere between Novalis, Lautreamon and Louis Ferdinand Celine, had the title of “underground” director for ten years. His cinematic view of the world was simplified, replaced by a completely alien to him and at the same time subjected to unscrupulous exploitation. His films were crowned with the term “underground”, which in an instant turned them into beautiful, but still exotic plants, flowering so far and Testosterone enanthate Injectable Steroids - Bodybuilding - Steroids - USA so solitary that it would be ridiculous to reckon with them. In principle, they are not even worth paying attention to. This view is blatantly stupid. Because in the films of Werner Schroter there is nothing highbrow; Yes, they are beautiful, but not exotic. On the contrary.

Director Werner Schroter, whom they are trying to belittle, who are trying to drive into stupid frames and whose films, I repeat once again, is called “underground” (as a rule, “underground” are films that exist somewhere out of sight and are least valued precisely those who did not give money for them - supposedly these films are too cheap to be meaningful) - this Werner Schroeter is endowed with such a clear and unbiased look at the world around us like no one else who is engaged in any kind of art. And, it seems to me, this happy chosen one reveals the unknown and beautiful secrets of the universe.

If this is not self-evident, it should be added that the happiness, then the greatness that I just talked about in no way means that a person endowed with such a gift is satisfied with his life. No matter how! I know no one but myself who, with such desperate stubbornness, chases after the obviously infantile, shameful dream of some semblance of love (these words, ladies and gentlemen, are self-revealing, aren't they?) And helplessly retreating in the face of always one and the same prosaic experience. However, experience dulls. Obviously, both of us will continue to step on the same rake. from the film by W. Schroeter “Neapolitan Brothers and Sisters” (1978)

Back to the topic. Director Schroter, we repeat, managed the impossible. What exactly? Ten years of "underground", then years of humiliation in the department Kamerafilmin edition Zdf, when he, a trouble-free mad fool, supplied his department with excellent material both from his homeland and from abroad, which probably raised the self-esteem of his alleged benefactors, but at the same time left them blind to the fact that every second film Schroter cost much more than Schroter received from the publisher. However, this fact did not cause a bout of generosity among colleagues - and why, in fact? Anyone who sits in debt has no choice, is dependent, and therefore, behaves quietly. And it’s cheap.

Werner Schroter spent the longest time in this vicious circle, but did not lose his passionate hope one day to escape from it. To make movies for movie theaters. Movies are for people, and the more the merrier. But his desire alone was not enough. from the film by W. Schroeter “Neapolitan Brothers and Sisters” (1978)

At the same time, only a few units managed to make films without looking at Schroter. His films taught me the most important thing, which should be especially noted once again. Without Schroter, neither Daniel Schmid nor Ulrike Power interval training - Sunrise trainings Oettinger are unthinkable; Walter Bockmeier studied from the Schroter films. Films in imitation of Schroeter are shot by many of the graduates of the Munich film school: from Eberhard Schubert to Bernd Schwamm. Young directors for whom Schroter’s films are just as important as Sternberg’s films are in France. In the end, it should be so.

Also found was a highly skilled imitator of Schroter, who, taking advantage of a prolonged pause in his work, deftly sold the loot from him. This plagiarist businessman, Hans-Jurgen Suberberg, for a long time managed to mislead the Parisians. In France, it was rather difficult to explain that we are by no means the epigones of the nimble Zyuberberg and it is just right to talk about the ruthless squandering of our innermost. But Zyuberberg, in spite of his secondary nature, showed that even just stealing from Schroter, one can make great films - a chance that Schrother himself was waiting in vain.

At that moment, when many, including Schroeter's supporters, finally became convinced that he, most likely, would never make a great narrative film, that after so many years of indecision, hesitation, missed opportunities, he was no longer able to create anything significant; when some dropped their hands, while others fell into despair, such as, for example, Rosa von Praunheim, who was crippled by the failure of the Berlin Roller [Berliner Bettwurst], - Werner Schroter made the film "Neapolitan Brothers and Sisters" [Die neapolitanischen geschwistern]. An outstanding, great movie, which in itself is incredible, because after terrible years of waiting, being always on the verge of death, it is so easy to lose inspiration. The film, which can boldly, with all rights, can stand on a par with the “Obsession” of Visconti, “Dear” Fellini, “Mom Roma” Pasolini, “Rocco and his brothers” Visconti, “Cuties” Chabrol, “Probably the Devil” by Bresson , “The Angel of Extermination” by Bunuel and many others. Thus, to those three, five, ten directors that Germany can be proud of, another joined - the one whose need is long overdue. Director of free, bold breathing. Simply put, great. from the film by W. Schroeter “Neapolitan Brothers and Sisters” (1978)

Finally, being sure that readers will see this article Filmkritik - a magazine that is almost invariably referenced for reasons I allow myself to call the vile and disgusting article published by Rosa von Praunheim about the latest film by Werner Schroter. I will have to touch upon the sphere of private life in order to clarify things: Rosa von Praunheim and Werner Schroeter have been close friends for a long time. At the time of the beginning of their friendship, Rose was already the author of several high-profile paintings, while Werner Schroeter was just starting to shoot. He considered Rose his main spectator; the appearance of his paintings owed much to his good feelings for the latter. The gratitude of Rosa von Praunheim was contempt and ridicule, shown with regrettable superiority over others - the superiority characteristic of those who love less. Rosa von Praunheim's unshakable rationality sometimes had an almost paralyzing effect on Werner Schroter's sincerity.

Rosa von Praunheim, so progressive, with a consciousness so free from all our bourgeois values, believes that he alone has the right to raise issues of his own or someone else's homosexuality in films: Werner Schroeter How to inject Testosterone - Learn Yourself with Testosterone injections has probably always obeyed this dictate. And now, in the “Neapolitan Brothers and Sisters,” Rosa von Praunheim, apparently, discovered one or another supposedly homosexual narrative line. Here is the obvious reason to hide, however, God sees his own, understandable despair (because he still hasn’t made a single great film or got an opportunity to make it), to hide it even from himself.

Alas, the German directors know what suffering is, and I say this without irony: in order not to be left alone with their grief, pain and fear, they are ready to betray their, perhaps, only friend.

Rosa Praunheim, Werner Schroter, “Neapolitan Brothers, Werner Schroeter, “Neapolitan Brothers Sisters”, Brothers Sisters”