When Ben is released from prison, undercover police agent Melody picks him up at the gate. Kahnitz, her sinister and ambitious boss, wants to see Ben convicted of another crime as soon as ...
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When Ben is released from prison, undercover police agent Melody picks him up at the gate. Kahnitz, her sinister and ambitious boss, wants to see Ben convicted of another crime as soon as possible. Since Ben seems to show only mild interest both in Melody and in safe-busting she has to come up with a plan. Alas, the talkative cop has developed quite a liking for the taciturn gangster.Written by
Armin Ortmann <firstname.lastname@example.org>
The original Long Hello and Short Goodbye script featured a complex and challenging structure that jumped back-and-forth in time. Shortly before its release, an increasingly nervous Studio Hamburg hastily re-edited the picture into a mostly linear narrative. Although the film received a positive review in Daily Variety that called it "impressive, sexy filmmaking, with offshore distribution a possibility and exposure at broad-minded fests, where genre fans should lap it up, strongly signaled," the reviews were mixed, with some calling it a German masterpiece and other critics openly hostile. The cast, director, producers and writers still hope for a director's cut someday to restore the original picture. See more »
(Joseph Malik/Andre Nuttai)
Performed by Blackenized)
Published by EMI Music Publishing Ltd. Spirit Songs
Licensed courtesy of Response Records Ltd. P 1998 See more »
Einen Blutigen Showdown!
A friend of mine gave me this movie because I was always a big fan of the American script, which I first read about eight years ago, one of those scripts that keeps getting close to production, with a thousand lives. This version of the story, filmed in Germany, simplifies the structure of the original piece, and in the process actually weakens the characterization--and muddles the whole point. I mean, the script was a structural tour-de-force! Why did the German film-makers simplify it? Cold feet, I understand. But what is left is still an edgy neo-noir that polarized German audiences into "love it" or "hate it" camps. The director uses a huge arsenal of visual gimmicks including shifting depth-of-field within a shot, and the end result is cool, sexy film-making. Nicolette Krebitz rules the screen, Dietrich Hollinderbaumer oozes menace, and Sunnyi Melles and Axel Milberg steal the film in their funny supporting roles as a couple of con men. Katja Riemann shows up in an extended cameo as a hit woman. The conclusion was filmed exactly as originally written, as far as I can remember, and is really fantastic. All in all, it was a surprise and a pleasure to come across this movie, although I still have my fingers crossed for the American version some day.
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