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Germany Year 90 Nine Zero (1991)
"Allemagne 90 neuf zéro" (original title)

 -  Drama  -  20 January 1995 (USA)
7.2
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Ratings: 7.2/10 from 369 users  
Reviews: 6 user | 3 critic

Characterized by deconstructivism and philosophical references and by briefly exposing the good, bad, and ugly periods of the country's history, this post-modern film portrays the abstract ... See full summary »

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Title: Germany Year 90 Nine Zero (1991)

Germany Year 90 Nine Zero (1991) on IMDb 7.2/10

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2 wins & 1 nomination. See more awards »

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Cast

Complete credited cast:
Eddie Constantine ...
Hanns Zischler ...
Count Zelten (as Hans Zischler)
...
Charlotte Kestner / Dora
Nathalie Kadem ...
Delphine de Stael
André S. Labarthe ...
Récitant (as André Labarthe)
Robert Wittmers ...
Kim Kashkashian ...
Musician
Anton Mossine ...
Dimitri
Heinz Przbylski
Kerstin Boos
H.J. Jurgen
Uwe Grzechowski ...
(as Uwe Orzechowsici)
Jochen Gliscinsky ...
(as Jochen Glischinski)
Iva Svarcová
Elfi Gäbel ...
(as Elfi Gabel)
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Storyline

Characterized by deconstructivism and philosophical references and by briefly exposing the good, bad, and ugly periods of the country's history, this post-modern film portrays the abstract need for guidance of Germany following the fall of the Berlin Wall. Written by Steve Richer <sricher@sympatico.ca>

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Drama

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Release Date:

20 January 1995 (USA)  »

Also Known As:

Germany Year 90 Nine Zero  »

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Quotes

[first lines]
Lemmy Caution: Can we tell the story of time? Time itself, in its own essence? No, we can't. It would be useless. A story with the words: "And then time has passed and then followed its own course" and so and so. No one in their perfect mind would write such narrative. It would be like trying to hold a single note or just one accord for a whole hour and call it music.
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Featured in Histoire(s) du cinéma: Les signes parmi nous (1998) See more »

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User Reviews

 
Best Elegy Ever
21 December 2008 | by (India) – See all my reviews

And I thought Godard didn't have a masterpiece. Once more after many years, Godard follows Lemmy Caution (remember Alphaville?), now the "world's last spy", after the collapse of communism in Germany and the breaking of the wall. If Alphaville was The Return of the Jedi, Germany 90 is the Revenge of the Sith. In the first film, Lemmy was a virus eluding the clutches of the supposedly omnipotent Alpha 60 whereas here, he is a lone warrior meandering unharmed in the bigger Alphaville and the sole survivor of a species that would soon be extinct. Evidently a requiem for what Godard considers the death of Germany, Germany 90 is perhaps the best contender for the objective "sublime".

Tinged with a slight green throughout, the film juxtaposes images of sincere yearning by a man whose raison d'être has been questioned with fleeting sequences from the classics from the early expressionist German cinema. Godard classifies music, love and poetry as belonging to socialism alone and as languages not understood by the new world. Though elegiac in tone, the film is uncharacteristically (for Godard) hopeful in actuality. There is a definite promise of restoration in the form of Dora, the symbol of Germany in the film, and the assurance of "music after life". On a lighter note Lemmy comments "You have to admit, Marx did triumph. When an idea is born among masses, it becomes a material force. That's one way of looking at it."

Lemmy Caution who represented all that is living and all that is human in Alphaville represents all that is lost and destroyed in Germany 90. The recurrent images of exile crucifixion and torture may be for the whole of socialism itself, whose pro-mass approach was nailed down by the elite bourgeoisie. Now as Lemmy walks alone through the remains of the now- non-extant world, we see what Godard is referring to by "solitude of history" – Lenin icon amidst Greek ruins, people moving towards the west in blue cars, machines resembling dragons almost swallowing Lemmy, history books being sold as souvenirs. The fugitive events that shook the world seem to have single-handedly made Godard's political period a thing of art-house circuits. It is more than solitude of history, it is solitude of Cinema


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