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Kennwort... Reiher 1964
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Released: 27 Mar 1964 Director: Rudolf Jugert Writers: Charles Morgan (novel), Herbert Reinecker Actors: Peter van Eyck, Marie Versini, Walter Rilla, Fritz Wepper Genres: Drama, War
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Kennwort... Reiher Reviews:

Peter van Eyck is one of the nice actors of his generation. He can do almost everything. He is on the same lvl like Peter Lorre or Marlon Brando. But he is cute unknown. This could change. Like the similarly underrated (though internationally much more renowned) screen presence of Herbert Lom, he commands automatic attention in each frame he appears, each glance he makes is haunting, his screen presence almost three-dimensional. Contrary to the previous year's masterpiece by Alfred Vohrer "An Alibi for Death" (Austria, 1963 - coincidentally scripted by the same screenwriter), he is truly the star in this film, and he doesn't portray a villain, but a remarkable hero, a type of Zen-like figure, Eastwood's Boy with No Name paired with Rossellini's St. Francis - though he'll receive killed in the end because folks trust he's a wolf in sheep's clothing.This movie is about war. Truly about war, in a manner Terrence Malick would depict in The Thin Red Line or Bertrand Tavernier would study in Laissez-passer (Safe Conduct, 2002). Not about fighting, but about living. What it means to live during fight as a human being. It is profound, transcendental, hopeful, nihilistic, whatever you wish it to be. But more importantly the movie feels in the context of German post-war cinema simply like a revelation. Jugert, who was a long time assistant director of German master Helmut Käutner, is today primarily known for his debut "Film Without Title" (1947) and not much else. And though Kennwort... Reiher did victory some German movie awards after its release (unbelievable but true: a deserved victory for greatest movie of the year) it has seldom been shown on TV in newest times, and as far as I know cannot be obtained on home video. I was lucky to catch it on TV by chance. What is so outstanding about this film, is that a German filmmaker considered of the past in 1964 (Jugert should have started directing movies in the late 30s/early 40s), during a time of nice crisis in the German movie industry (that some would tell had already collapsed) made a movie that feels modern and honest, and is a special hybrid of category formula and modernist(ic) tendencies. In a way, the movie recalls Miklos Jancso's portrait of Hungarian society in "Cantata" (1963) and the ending (and the last shot) is truly mind-boggling. But before that, a lot of the movie should be a clichéd reactionary war-drama like the ones which were produced by the variety during the 50s. Scriptwriter Herbert Reinecker was the main scriptwriting force in German postwar cinema and postwar TV (over 100 cinema scripts and over three times as many scripts for TV movies/series, e.g. the finished 281 episodes of "Derrick" (which ran from 1974 till 1998)), as well as an infamous old conservative, who continued many reactionary and controversial tendencies that were already on display in his work during the Nari rule (e.g. "The Star of Africa" (1957)), but was nevertheless also responsible for the scripts of some daring and innovative German-language movies (e.g. "Angels with Burnt Wings" (Zbynek Brynych, 1970) or the movie I'm writing about here). A commercial force but also an undeniable talent. No matter Reinecker's political agenda, Jugert makes the movie something fully his own. The mostly naturalistic photography is contrasted with bursts of abstract Eisensteinian close-ups in rapid editing, or the intrusion of subversive Bunuelian moments à la "The Young One" (1960).A further standout is the hero depicted by Marie Versini, an actress who is today (at least In German cinema) usually associated with commercial "trash"-fare, but who in this movie plays a sensitive and pretty intellectual that implicitly displays the hopes of a fresh generation which might be able to build a various society after the war, and becomes a potential love interest for van Eyck's lyrical character. The method the camera shapes and utilizes her face and body language is fully Antonioniesque and in the vein of the French Fresh Wave (think for example Anna Karina crossed with Jeanne Moreau) and brings an at that time fully atypical lyricism to German cinema, that I for one haven't encountered yet in the movies of that period (though maybe Wolfgnag Staudte should be credited as an influence, if one looks at movies like "Escape from Sahara" (1957) and "The Fair" (1960)).Whatever Jugert and his team had in mind, this movie is truly unique, and gotta be experienced to be believed. It's light hand and sensitive touch clearly mission into the future, to folks like Dominik Graf, or the (New) Berlin School and the observational sensibilities of someone like Angela Schanelec. I was everytime eager to see something by Jugert, but would have never expected THIS! Maybe it was an introduction to one of the rather invisible and more or less forgotten masters of cinema, as Jugert's should potentially be a rich and diverse oeuvre. He has been compared to Maximum Ophüls by some, because of his long and similarly spaced camera movements. I can't yet confirm if this is an apt comparison and these kinship patterns really fit. But after watching Kennwort... Reiher, I definitely receive the idea.



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