Zwei gewalttätige junge Männer nehmen eine Mutter, einen Vater und einen Sohn als Geisel in ihrer Ferienhütte und zwingen sie, zum eigenen Vergnügen sadistische "Spiele" miteinander zu spiel... Alles lesenZwei gewalttätige junge Männer nehmen eine Mutter, einen Vater und einen Sohn als Geisel in ihrer Ferienhütte und zwingen sie, zum eigenen Vergnügen sadistische "Spiele" miteinander zu spielen.Zwei gewalttätige junge Männer nehmen eine Mutter, einen Vater und einen Sohn als Geisel in ihrer Ferienhütte und zwingen sie, zum eigenen Vergnügen sadistische "Spiele" miteinander zu spielen.
- Auszeichnungen
- 5 Gewinne & 9 Nominierungen insgesamt
Handlung
WUSSTEST DU SCHON:
- WissenswertesUlrich Mühe and Susanne Lothar, who play the father and mother, were a couple in real life from this movie until Mühe's death in 2007.
- PatzerWhen Anna and Georg are driving in their car, the reflection of a microphone between the front seats can be seen on the window.
- Crazy CreditsThe front credits list "music by" several classical composers and John Zorn. Given the director's outspoken views on modern media, including the "composer" of the hardcore "thrash metal" songs alongside the likes of Handel and Mozart is part of his message.
- VerbindungenFeatured in The Last Days of the Board (1999)
- SoundtracksCara Salva
from 'Atalanta'
Music by George Frideric Handel (as G.F. Händel)
Sung by Beniamino Gigli
Published by EMI DA 1918
Ausgewählte Rezension
In this cross between Who's Afraid Of Virginia Woolf and A Clockwork Orange, two insolent young psychopaths torment a vacationing family.
It was hard to organize my thoughts on this movie, never mind rating it. As a thriller, this is a tense, well-acted, and relentless experience, marred only by a contrived sequence two-thirds through in which characters behave in unbelievably stupid fashion. However, said sequence is preceded by an incredibly effective ten-minute take. Unusually lengthy takes are often deemed self-indulgent, but this one is anything but.
As an ideological statement, though, this film is a failure. And there is no doubt that writer-director Michael Haneke is trying to make a statement. By having one of the psychos address the camera a few times, saying things to the effect that they have to give the viewers their money's worth, Haneke is essentially wagging his finger at anyone who has ever enjoyed the portrayal of violence in a film. This theme is certainly open to debate, but the problem is that Haneke expresses it in such a condescending way. His harrowing treatment of violence already serves as an excellent counterpoint to other films that glamorize it. There was no need to then leave viewers feeling as though they'd just been lectured by a stern parent.
The last time a filmmaker made me angry, it was when I saw Independence Day, and it was for the same reason. In both cases, the writer and the director display contempt by assuming their audiences are idiots. My anger didn't really ignite, though, until I watched a short interview with Haneke on the DVD. It made me never want to see another one of his films. The man is disgustingly full of himself.
So why the relatively high rating? Because as pretentious and self-important as Haneke is, he is also very talented. The movie is very effective on an emotional level, and it's possible to watch it while ignoring the director's wrong-headed decisions.
It was hard to organize my thoughts on this movie, never mind rating it. As a thriller, this is a tense, well-acted, and relentless experience, marred only by a contrived sequence two-thirds through in which characters behave in unbelievably stupid fashion. However, said sequence is preceded by an incredibly effective ten-minute take. Unusually lengthy takes are often deemed self-indulgent, but this one is anything but.
As an ideological statement, though, this film is a failure. And there is no doubt that writer-director Michael Haneke is trying to make a statement. By having one of the psychos address the camera a few times, saying things to the effect that they have to give the viewers their money's worth, Haneke is essentially wagging his finger at anyone who has ever enjoyed the portrayal of violence in a film. This theme is certainly open to debate, but the problem is that Haneke expresses it in such a condescending way. His harrowing treatment of violence already serves as an excellent counterpoint to other films that glamorize it. There was no need to then leave viewers feeling as though they'd just been lectured by a stern parent.
The last time a filmmaker made me angry, it was when I saw Independence Day, and it was for the same reason. In both cases, the writer and the director display contempt by assuming their audiences are idiots. My anger didn't really ignite, though, until I watched a short interview with Haneke on the DVD. It made me never want to see another one of his films. The man is disgustingly full of himself.
So why the relatively high rating? Because as pretentious and self-important as Haneke is, he is also very talented. The movie is very effective on an emotional level, and it's possible to watch it while ignoring the director's wrong-headed decisions.
- claudemercure
- 14. März 2009
- Permalink
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- Weltweiter Bruttoertrag
- 1.266 $
- Laufzeit1 Stunde 48 Minuten
- Farbe
- Sound-Mix
- Seitenverhältnis
- 1.85 : 1
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