Volker Schlondorff has been acclaimed by critics for such films as 'The Tin Drum', 'The Lost Honour of Katherina Blum', and 'Coup de Grace'; all of them films based on fine novels by Gunter Grass, Heinrich Boll and Marguerite Yourcenar respectively, and yet forerunner though he was to the German New Wave Cinema has never been quite given the same acclaim as Wim Wenders, Werner Herzog and Rainer Werner Fassbinder, and I wonder if it is because he films (excellently) from literary sources. His films have a cold look and an enquiring one and 'Young Torless' based on Robert Musil's novel 'The Confusions of Master Young Torless' is one of his best adaptations. The book is as coldly written as the film, and Schlondorff does it justice by using an austere black and white photography, but has as soundtrack Hans Werner Henze's fine if equally emotionless score. Sadly in the current climate of cinema most of these names will seem unknown, lost in the mists of the latter part of the 20th Century. As so many reviewers have given away the plot I will not give in to too many spoilers other than to say it is set on the Austrian-Hungarian border land in an Academy for young male students. In 1906 when it was published there was no such conception of Nazism as we know it, nor was there much in print on sadistic, murderous homosexual torture. Even in 1966 it was brave to put this on film and so unsparingly, and his choice of cast was well chosen. Mathieu Carriere plays the lead role as the 'watcher' and sometimes participator of these perverse pleasures taken by two other students as well as him, and most of the time he looks piously on, studying evil more than opposing it and becomes the worst of all of them as he condones by reason what he sees before him. He is in a way a coward, and unlike the other two admirably played by Bernd Tisch and Fred Diets he hypocritically shows less sexual and sadistic pleasure. I regret that the homosexuality was only obliquely shown, but given the nature of the subject in 1966 it was 'normal' to withdraw the camera for what would have been unacceptable viewing, and only the brutality of the sadism is sickening and fully shown. I give it a 10 for its brilliant attempt to tackle the Musil book and there is a certain failure in the director's approach by him being too cautious, but all the same it succeeds on so many levels that I feel it deserves a 10. It was unique then, and should not be as forgotten as it is now, and was in its way also a forerunner of openly homosexual subject matter. Its political aspects are made too much of as in my opinion it shows the savagery of men hidden away behind polite surfaces; a subject matter as controversial as it is still, and I am thinking of the recent film 'Goat' dealing with hazing in modern Academic schools which has equally been given less distribution than it should have been.
