It was a bold move for Stefan Ruzowitzky (“The Counterfeiters” among many others) to conceive of a gritty Expressionist detective-thriller set in the aftermath of World War I, shot almost entirely on blue screen. Whether it’s also fully successful is open for debate. Thematically, the idea was to tackle the impotent rage of the Austro-Hungarian patriarchy whose fanatical belief in Emperor and Empire went up in smoke when the Armistice brushed aside the monarchy and reduced the territory to a state of near insignificance. With this context, the film foregrounds the story of a traumatized lieutenant returning to his duties as police inspector in Vienna just when an especially sadistic murderer is killing his former comrades.
Given all these elements, it’s not such a leap to envision a reawakening of Expressionism, at its cinematic height in 1919-1920, as an appropriate visual style. Ruzowitzky however isn’t content with its hermetic,...
Given all these elements, it’s not such a leap to envision a reawakening of Expressionism, at its cinematic height in 1919-1920, as an appropriate visual style. Ruzowitzky however isn’t content with its hermetic,...
- 8/9/2021
- by Jay Weissberg
- Variety Film + TV
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