This is not only a sequel to the "Second Heimat", but also a chronicle of a very decisive decade for Germany (1989 to 200). The main couple of the mini-series released in 1992, Hermann ... See full summary »
The movie consist of 13 separate episodes each handling a period between 1960 and 1970. The length of these periods varies from one day to some years. It tells the story of a group of ... See full summary »
The series (11 episodes) tells the story of the village Schabbach, on the Hunsrueck in Germany through the years 1919-1982. Central person is Maria, who we see growing from a 17 year old ... See full summary »
Germany in Autumn does not have a plot per se; it mixes documentary footage, along with standard movie scenes, to give the audience the mood of Germany during the late 1970s. The movie ... See full summary »
This is not only a sequel to the "Second Heimat", but also a chronicle of a very decisive decade for Germany (1989 to 200). The main couple of the mini-series released in 1992, Hermann Simon and Clarissa Lichtbau (played by the same actors), reunite after almost exactly 19 years. Their last night of love in November 1970 closed the previous series. Now, on November 9th, 1989, when the Berlin Wall falls, Hermann and Clarissa meet each other again by mere chance. Surrounded by celebrations, the former lovers bring each other up to date, and reestablish a relationship. Hermann has become a well known maestro and Clarissa, a respected singer, but both lead solitary lives. Clarissa takes Hermann back to his birthplace, Schabbach where he can revisit his brothers, Ernst and Anton (the same actors from Heimat 1), who stayed on there, and extended family and friends. Nearby on a hill, is the house of Clarissa's dreams, a mansion in ruins. Another national party uniting Germany, the 1990 World... Written by
I've posted this comment on Heimat 3 after sitting through all the Heimats over the past 3 months. It is of course excellent cinema, perhaps there is no need to explain why, considering it's fame. I have one major criticism of the director's vision, The whole work is cleansed of minorities.
I began to find this troubling about 2/3s of the way through Heimat 2. It struck me as an outrage that the bohemian "salon" & it's circle of bright young things in Munich in which Herman lived whilst a student was completely devoid of any gay representation. Unthinkable, considering it's exactly the sort of situation in which gay people would have been welcomed & to which they would have gravitated. I found this absence unforgivable by the end of Heimat 2. I got annoyed by the repeated variations of heterosexual love that were being depicted.
There was a great injustice in this exclusion. I felt the same in Heimat 3 about ethnic minorities. Here, the film moves firmly into the familiar contemporary life of big cities. Berlin is a city of ethnic variation. As the film's main theme came to the fore like a great wave; namely the aim to reclaim back from fascism the right of Germans to consider what it means to be German and to celebrate that relationship of people to place, the absence of racial representation struck me as inherently suspect, even sinister. There were 2 very very brief images of black Americans as iconic emblems of 'other', of 'not us' therefore acceptable, even exotic, liberating. There was also a very brief image of a group of Indian boys silently working in a sweat shop. This last image is suspect, because Germans traditionally envied the idea of Britain's colonial empire & this image evokes a German simulation of a Raj they never had. At the very least the image feeds into the existence of that National envy.
White ethnicity is covered. The proximity to the former USSR & former Eastern Europe provides characters who show us this European condition of multiple boundaries & how they contribute to ideas of national identity. But somehow it still portrays a localised preoccupation with notions of racial purity & belonging. That kind of thinking which is fundamentally blind to 'difference' is a cul de sac. I felt the director was somehow giving permission to think like this over & above questioning thinking of this kind.
All the people who are given place in the story are essentially good people. They are liberal, kind, intelligent, angry feeling people. But they are all white & heterosexual & the patriarchal flows through their lives. Even the revolution of the sixties depicted the fury of the establishment liberal but failed to portray any minority. I found this unacceptable. It's the one tremendous flaw in this work & for me these absences are as huge as the trilogy itself. It distorts reality, and raises questions about subliminal fascism in what the director selects when posing this very big idea. Is the frustration of the Liberal German really it's failure to abandon a mental "homeland" that consists of traditional heterosexual whiteness ?
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