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Die Antigone des Sophokles nach der Hölderlinschen Übertragung für die Bühne bearbeitet von Brecht 1948 (Suhrkamp Verlag) (1992)

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A teenaged girl is executed for going against a king's wishes and honoring her brother's death.

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(play), (translation: German), 1 more credit »
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Title: Die Antigone des Sophokles nach der Hölderlinschen Übertragung für die Bühne bearbeitet von Brecht 1948 (Suhrkamp Verlag) (1992)

Die Antigone des Sophokles nach der Hölderlinschen Übertragung für die Bühne bearbeitet von Brecht 1948 (Suhrkamp Verlag) (1992) on IMDb 7/10

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Cast

Cast overview:
Astrid Ofner ...
Ursula Ofner ...
Hans Diehl ...
Die Alten
Kurt Radeke ...
Die Alten
Michael Maassen ...
Die Alten
Rainer Philippi ...
Die Alten
Werner Rehm ...
Lars Studer ...
Wächter
Stephan Wolf-Schönburg ...
Hämon
Albert Hetterle ...
Mario di Mattia ...
Knabe
Michael König ...
Bote
Libgart Schwarz ...
Botin
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Storyline

A teenaged girl is executed for going against a king's wishes and honoring her brother's death.

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Genres:

Drama

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Details

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Release Date:

2 September 1992 (France)  »

Also Known As:

Antigone  »

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Die Soldaten
Composed by Bernd Alois Zimmermann
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A 'Moving Theater': Brilliant
3 March 2014 | by (India) – See all my reviews

If Theater is 1 and Cinema is 2, Joao Cesar Monteiro's directorial style is at 1.7 and from what I have seen so far, Straub/Huillet's is a magical 1.3. And even if on the other side of the spectrum, their films also invoke similar reactions as Monteiro's, that comes from witnessing Cinema that is unique and unlike that is commonly known of. Their(S/H) shooting style is always sparse, simple, and every frame is like a theater, they just borrow the flexibility of angles and the freedom of stage preparation from films, and create their own brand of 'moving theater'. Antigone is most definitely a Brechtian film, as is Dalla Nube…, and again, a recreation of the mythological play Antigone by Sophocles. The film retells the tragedy with moving lines, delivered with utter poignancy, acted out to his heart by Werner Rehm, as the tyrant Creon, and also by all other characters. In this film though, the elements for theater are in full glory, more than in Dalla Nube… and the stage is awesome - the entire film is set in an amphitheater on a mountain cliff, never moving out. The play captures its subjects beautifully, and the characters move in sync with their words and surroundings, creating an experience that thrives on choreography, and less on conventional paradigms of a movie. The content is well executed, as the play takes shape in all its paradoxes and futilities, and man, did I enjoy losing myself in the mesmeric power of words again! Straub/Huillet has certainly hit a soft spot, through two films that are not for the impatient, but in its fruition, richly rewarding. Amongst other tiny signs of mastery, it is tremendous how Straub/Huillet execute the 'stage-touch' by simply letting his characters exit the scope of camera before moving on. Gives you a moment to think about what just happened, another important aspect of the theater. If you are tired of films, watch this play.


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