8.0/10
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2 user 3 critic

Jadup und Boel (1980)

In a small town, everyone has tried to forget what happened shortly after WWII. That is, until a stranger finds a book that Jadup (Kurt Böwe) gave to the young refugee Boel (Katrin Knappe),... See full summary »

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(scenario),
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4 wins & 1 nomination. See more awards »
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Cast

Cast overview, first billed only:
Kurt Böwe ...
Jadup
Katrin Knappe ...
Boel Martin
...
Barbara Jadup
Timo Jakob ...
Max Jadup (as Timo Jacob)
Käthe Reichel ...
Frau Martin
...
Willi Unger
Heide Kipp ...
Frau Unger
...
Herr Gwissen
Rolf-Martin Kruckenberg ...
Leutnant Wenzel
Christian Böwe ...
Der junge Jadup
Dirk Nawrocki ...
Junger Wenzel
Berthold Schulze ...
Tröger
Susanne Wisniewski ...
Marion
Horst Lebinsky ...
Arne
Inga Kaltenhäuser ...
Edith

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Storyline

In a small town, everyone has tried to forget what happened shortly after WWII. That is, until a stranger finds a book that Jadup (Kurt Böwe) gave to the young refugee Boel (Katrin Knappe), who resettled in the town over 30 years ago. Painful memories about Boel and the post-war period begin to surface and shake up the whole town. Boel vanished back then and nobody knew why. Word spread about a rape and some tried to blame a Russian soldier. Jadup, the town's respected and popular mayor, remembers, though, how he mistrusted Boel and did not help her through this difficult time; HE didn't even notice THAT Boel loved him. Jadup's confrontation with the past gives him a new, critical view of his current situation and surroundings. Originally censored and later banned by GDR officials for being too controversial, Jadup and Boel was not released until 1988. Written by DEFA Film Library

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Drama

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July 1989 (Soviet Union)  »

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Jadup and Boel  »

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1.66 : 1
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User Reviews

 
Much better than other review thinks
21 August 2012 | by (United States) – See all my reviews

Jadup und Boel was very consciously modeled on other European art films, including Andrzej Wajda's MAN OF MARBLE with its Citizen-Kane-inspired flashback investigative structure. The dreamlike quality of its flashbacks is also often typical of Bergman. To castigate Simon for "glacially slow tempo" is asking this film to be something it isn't trying to be: namely a Hollywood mainstream picture. Antonioni's L'AVVENTURA also doesn't solve its main mystery, nor does BLOW-UP, nor do many other art-house films: this is deliberate in them as it is in Simon. This film is one of the most poetic and understated films ever made in East Germany, and repays careful re-watching. Simon imparted mythological qualities to the film that aren't in the original novel (which I have read), such as the film's beginning in dark depths and ending on the illuminated heights of a church tower, symbolizing the main character's progress toward self-knowledge. The main actor, Kurt Boewe, was called "The Columbo of the East;" watch it and you'll see why: he's winningly earthy as Peter Falk. Boel's mother was played by a famous actress who was Bertolt Brecht's last mistress; the great Polish actor Frantiszek Pieczka is also in this film. Be patient and your viewing will pay off.


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