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Eika Katappa (1969)

7.3
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Ratings: 7.3/10 from 55 users  
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Collage of dramatic scenes, some exaggerated to comic effect, with asynchronous sound from well known classic, operatic, and rock and roll music - with different approaches to love, suffering, and death.

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Title: Eika Katappa (1969)

Eika Katappa (1969) on IMDb 7.3/10

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Cast

Complete credited cast:
Gisela Trowe
Carla Egerer ...
(as Carla Aulaulu)
Rosemarie Heinikel ...
(as Rosy-Rosy)
Magdalena Montezuma
Alix Buchen ...
(as Alix v. Buchen)
Rita Bauer
René Schönenberger ...
(as René Schönberg)
Rest of cast listed alphabetically:
Joachim Bauer
Camille Calabrese
Knut Koch ...
(as Marlene Koch)
Ingo Salto
Sigurd Salto
Werner Schroeter
Edit

Storyline

Collage of dramatic scenes, some exaggerated to comic effect, with asynchronous sound from well known classic, operatic, and rock and roll music - with different approaches to love, suffering, and death.

Plot Summary | Add Synopsis

Genres:

Comedy | Drama

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Details

Country:

Language:

| | |

Release Date:

10 October 1969 (West Germany)  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

| (Eastmancolor)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

The film ends with a character dying while saying "Life is very precious, even right now"; a character dies saying the same phrase in Gods of the Plague (1970), released in the same year. See more »

Connections

Featured in Mondo Lux - Die Bilderwelten des Werner Schroeter (2011) See more »

Soundtracks

Il Trovatore
(excerpts) (uncredited)
Music by Giuseppe Verdi
See more »

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User Reviews

 
Love Is a Deadly Art
11 April 2014 | by (Russian Federation, Ivanovo) – See all my reviews

Sigmund and Sieglinde, Quasimodo and Esméralda, Carmen and Don José and many others – scenes of tragic love are performed to the operatic and popular music but all the actors grotesquely overplay their roles so the tragedy gradually turns into the farce. A key phrase "Life is very precious, even right now", that the dying heroes and heroines pronounce with their last expiration, sounds as a subtle derision in the context of this musical black comedy. Endless repetition of the preposterous love scenes and tortuous interconnection of the fragmentary mosaic pieces turn Eikka Katappa into an extremely mannered allegorical pastische. And all this elaborately wrought suite of bizarreness in the end becomes a pure aesthetic delight.


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