IMDb-BEWERTUNG
6,9/10
2897
IHRE BEWERTUNG
Die erst 17-jährige Effi Briest (Hanna Schygulla) wird mit dem deutlich älteren Baron Geert von Innstetten (Wolfgang Schenk) verheiratet.Die erst 17-jährige Effi Briest (Hanna Schygulla) wird mit dem deutlich älteren Baron Geert von Innstetten (Wolfgang Schenk) verheiratet.Die erst 17-jährige Effi Briest (Hanna Schygulla) wird mit dem deutlich älteren Baron Geert von Innstetten (Wolfgang Schenk) verheiratet.
- Regie
- Drehbuch
- Hauptbesetzung
- Auszeichnungen
- 1 Gewinn & 1 Nominierung insgesamt
Karlheinz Böhm
- Wüllersdorf
- (as Karl-Heinz Böhm)
An Dorthe Braker
- Frau Pasche
- (as Anndorthe Braker)
Hark Bohm
- Apotheker Gieshübler
- (Nicht genannt)
Empfohlene Bewertungen
I did not find Fassbinder's filmmaking static and boring. I found it brash and exciting. His style is superb. HOWEVER, I have to say that I found the story, with which I am unfamiliar, incredibly bland. How many 19th and early 20th Century novels have this exact same plot? It's the simplistic "fallen wife" scenario without a spark of invention, it seems to me. In that way, I could not stand this film and was trying hard not to pass out. However, Fassbinder's miraculous filmmaking, cinematography, mise-en-scene, direction, music, even the acting, kept me at least interested. I give it a 6/10.
Exquisite black-and-white photography, gorgeous costumes, stunning landscapes, and actors photographed in mirrors and through laced-curtains are the highlights of this emotionally distant film. It is true, however, that the leading actress has her cathartic scene, but it comes late in the film. Too late to really make one care about the spoiled, rich young lady. But this is Fassbinder, and Fassbinder is always watchable, even at his most pretentious. One joy of this film is the presence of Irm Hermann, who can do more with one glare (she doesn't need dialogue as "The Bitter Tears of Petra Von Kant" proved for all time) then any actor I can think of. Schygulla and the other actors are mostly wooden. The beauty of the scene with the starkly handsome Lommel as the rich major and Schygulla picnicking at the beach makes one forgive the shortcomings of the film.
In the nineteenth century, seventeen year old Effi Briest is married to the older Baron von Instetten and moves into a house, that she believes has a ghost, in a small isolated Baltic town.
Similarities between "Effi Briest" and 20th-century Germany were easily found, helping to explain the popularity of the book and its subsequent film adaptions there. During the 1970s, West Germany was being racked by civil unrest as people sought to effect change, among these movements was the women's civil rights movement, which became a major influence for the film, as it compared the repressive nature in society between 19th century Prussia and 1970s West Germany.
Fassbinder is one of the giants of new German cinema (by "new" I mean post-WWII), and here he demonstrates his prowess. Epic in length, using black and white to its fullest extent... this is one of those films that made him great, even if it may not be the most-remembered of Fassbinder films.
Similarities between "Effi Briest" and 20th-century Germany were easily found, helping to explain the popularity of the book and its subsequent film adaptions there. During the 1970s, West Germany was being racked by civil unrest as people sought to effect change, among these movements was the women's civil rights movement, which became a major influence for the film, as it compared the repressive nature in society between 19th century Prussia and 1970s West Germany.
Fassbinder is one of the giants of new German cinema (by "new" I mean post-WWII), and here he demonstrates his prowess. Epic in length, using black and white to its fullest extent... this is one of those films that made him great, even if it may not be the most-remembered of Fassbinder films.
Maybe Theodor Fontane does not belong to the outstanding writers of world literature (he would be too provincial for the whole wide world perhaps), but nevertheless, his poetic realism and his sophisticated powers of observation lead his stories to a deep, often radical criticism of social conventions.
That's probably the reason why Fassbinder adopted Fontane's most famous novel "Effi Briest" - to tell the story from the writer's very point of view, as far as possible and to make the social mechanisms of oppression and the assimilation of the individual to that obvious. His concern is already pointed out in the exceptionally long title of the film, which I can imagine is the longest in history and translates something like this: Fontane Effi Briest or: Many who have a notion of their abilities and needs and nevertheless accept the current regime in their minds through their deeds and therefore stabilize and pretty much affirm it
The atmosphere of coldness, of distance (which is, thanks to Fassbinder, at times really excruciating), of alienation is thematised through the cinematic techniques: mirror shots of the actors with a sometimes very blurred camera, misalignment of the camera by statues, flowers or curtains, cross-fades of dialogues and blindingly white fade-outs which sometimes abruptly interrupts a scene. In this sense, Fassbinder tightened Fontane's criticism to a maximum, but he wouldn't be Fassbinder otherwise.
That's probably the reason why Fassbinder adopted Fontane's most famous novel "Effi Briest" - to tell the story from the writer's very point of view, as far as possible and to make the social mechanisms of oppression and the assimilation of the individual to that obvious. His concern is already pointed out in the exceptionally long title of the film, which I can imagine is the longest in history and translates something like this: Fontane Effi Briest or: Many who have a notion of their abilities and needs and nevertheless accept the current regime in their minds through their deeds and therefore stabilize and pretty much affirm it
The atmosphere of coldness, of distance (which is, thanks to Fassbinder, at times really excruciating), of alienation is thematised through the cinematic techniques: mirror shots of the actors with a sometimes very blurred camera, misalignment of the camera by statues, flowers or curtains, cross-fades of dialogues and blindingly white fade-outs which sometimes abruptly interrupts a scene. In this sense, Fassbinder tightened Fontane's criticism to a maximum, but he wouldn't be Fassbinder otherwise.
10gsims
This film has everything one could ask for: astonishing visual intelligence and imagination, wonderfully evocative, impeccably composed images that draw on silent cinema and painting, all perfectly adapted to the very moving story being told, and the period/milieu in which it unfolds: Effie Briest is presented as enclosed in the many different spaces (most of them - especially the interiors - saturated with stifling formality, social rectitude and conformity) through which she moves and in which she lives, or tries to live (the bird in the cage being a transparent symbol of all this). Quite simply, Fassbinder knows - knew - what "mise en scene" really means. The passage of time is brilliantly handled (through, for example, the use of the fade to white, intertitles and a moving voice-over narration), and the cast is flawless, as well as being flawlessly directed. A film of immense dignity and power, yet it somehow remains understated...
Wusstest du schon
- WissenswertesThe complete title of the film is one of the longest titles (if not the longest) in film history: "Fontane Effi Briest oder viele, die eine Ahnung haben von ihren Möglichkeiten und ihren Bedürfnissen und trotzdem das herrschende System in ihrem Kopf akzeptieren durch ihre Taten und es somit festigen und durchaus bestätigen"
- Zitate
Effi Briest: One's associations are connected not only with one's personal experiences, but also with what one has heard or happens to know.
- SoundtracksHavanaise in E major, Op. 83
Composed by Camille Saint-Saëns
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Details
Box Office
- Budget
- 750.000 DM (geschätzt)
- Bruttoertrag in den USA und Kanada
- 8.144 $
- Eröffnungswochenende in den USA und in Kanada
- 11.623 $
- 16. Feb. 2003
- Weltweiter Bruttoertrag
- 8.158 $
- Laufzeit2 Stunden 20 Minuten
- Farbe
- Sound-Mix
- Seitenverhältnis
- 1.37 : 1
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Oberste Lücke
By what name was Fontane Effi Briest (1974) officially released in India in English?
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