Todestraum - Der letzte Zeuge schweigt

I like films that are dreamlike and fluid, floating that wanders outside of the confines of self and story. At the same time I like them to draw fresh water from the well of mysterious non- self that underpins really anything that is exuberantly receptive to the world (passionate sex, dreaming, youth, all a part of it), wipes anxiety and restores our way of seeing to the far-flung horizons teeming with possibility that youth and early lovers know.

Lynch is a natural master of this deep swimming. Ferrara tried briefly at around the same time. Further back it was Rivette. A lot of film noir works in a similar way for me.

Here we have all these things; dreamlike in the way that Lynch is, about passion that dives in and perturbs reality, and a cinematic mind-bending swim in the waters. It's nominally a thriller, but written in waters, fluid about anxiety and self.

It has the noir engine where someone sets out to investigate and finds himself embroiled in mysterious goings-on. In noir that's usually a PI, but it doesn't have to be. Here it's simply a son whose mother has been hospitalized and he arrives to the small town to care for her.

He an architectural writer, she a photographer, both coming to explore an old building that is set to be demolished, but she has a husband. They unearth a story that took place in that building long ago, about illicit lovers discovered one night. We have some obvious symbolism in the building as obliquely shared past and as wandering through his own mind that is buffeted by anxieties.

And it has the notion of persisting memory where something that happened in the past is rising up again in the present. The noir drive is that the more he succumbs to passion, the more he is pulled as a narrator into a past story about similar passion.

So they fall for each other while he's unearthing a narrative of how that shattered lives one day. By investigating further, he comes to understand that he's tied to that story via his parents; his mother has been unwell ever since. There's also another son whose life is intimately woven to events of that night, an eerie figure like out of Lynch who by driving past the building one day causes someone to die.

It's all eventually made to align during a hospital visit late at night. Another invalid mother is wheeled out, central in events of that story. A metaphysical wiring between bodies takes place, bodies entered it seems by our knowledge of the story. The fateful coupling that upset reality takes place once more inside the building; once more a vengeful spouse is waiting in the shadows with a gun. But they say that they love each other. He's eavesdropping and stays his hand.

This is worthwhile stuff.

Noir Meter: 2/4 / Neo-noir or post noir? Post

I was hooked from the first minute I saw this one! All my friends to whom I recommended this film, liked it too. And they said all the same. Good, you told us to watch this movie very carefully, and keep concentrated on it, constantly, cause it will keep you guessing long after you seen it! Seldom I've seen a film, so slow, but so good! It has such a strange feel about it, it's erotic and it has thriller effects, especially each time somebody enters the building. The leads are good, Pullman exellent! Mike Figgis is a great director, but he never made something good, as this, afterwards. Very nice photography, and good soundtrack.

Peter Piessens.

The successful writer and professor of architecture Nick Kaminsky (Kevin Anderson) returns from New York to Elderstown to visit his biological mother Lillian Anderson Munnsen (Kim Novak) that is terminal. Nick does not know Lilian since he was adopted when he was a child but he pays the bill for her to stay in a private room in the hospital. While walking on the street, Nick stumbles upon his former college friend Paul Kessler (Bill Pullman), who is demolishing with his team an old department store building where a murder and a suicide happened many years ago. While talking to Paul, there is an accident and Nick saves his life. Paul invites Nick to go to the birthday party of his wife Jane Kessler (Pamela Gidley). Nick feels attracted by the building that is built in cast iron and asks Paul to visit it. Meanwhile Jane, who is a photographer, decides to take photos of the same building. They get close to each other and Nick learns that Jane was also adopted. Along the following days, Jane and Nick have a love affair and Nick discloses hidden secrets from their past.

"Liebestraum" (meaning love dream in German and title of a Franx Liszt 's composition) is a melancholic and beautiful film by Mike Figgis. The depressive story of a love affair in the 50's or 60's ended in a murder and suicide and the consequences in the present days (1991) is supported by great performances, wonderful cinematography and magnificent music score. The direction of Mike Figgis follows the style of film-noir and this film has been only released on VHS in Brazil. My vote is seven.

Title (Brazil): "Liebestraum - Atração Proibida" ("Liebestraum – Forbidden Attraction")

But given that, not a terrible watch. I read a comment about the lighting being special in this film. This really added to my enjoyment. I suppose that Kevin Anderson and his management expected his career to take off, because he did Leibestraum the same year (1991) as "Sleeping With The Enemy" with Julia Roberts, whose career was blossoming. Not that Kevin hasn't hit the big time since then. Who knows. Maybe he has wildly surpassed his personal goals. I enjoy his performances, including the TV thing about a Catholic priest a few years back. For DVD renters, catch the deleted scene. This is the coolest. The ladies at the Cat House, are also the nurses in the hospital. This revelation was the highlight of the film. For that reason, I don't understand why it was left out. There are equally explicit scenes that were left in, and they dovetail with the deleted scene. But, I was not the writer and director of Internal Affairs, successfully released the previous year.

Kim Novak returned to films in this Mike Figgis film. During the shooting there was a lot of PR generated by the legendary star's return to films including an interview with Kim Novak by the Sunday New York times Movie Section, great advance PR for the film. The back story of this movie would have been a better film than what appears on screen. Ms. Novak fought bitterly with Mike Figgis who threatened to cut Kim Novak's part to shreds, and Figgis did. What resulted is a muddled film that stars Kevin Anderson a fine actor whose part must also have been edited. Ditto Bill Pullman. Liebestraum - a brilliant title- makes little sense as a film.

Liebestraum started out as a Warner Bros film but ended up as a MGM film and that once fabled studio was going thru one of its periodic slumps and financial distresses and gave this film a very very limited opening in only two cities Los Angeles and New York. The New York Times favorably reviewed Ms. Novak in its review which should have given MGM and Figgis to open the picture more widely. The mystery here is not the film's murky subject but the fact that Kim Novak a worldwide star and a very under appreciated actress was given so little to do but moan. Novak is seen basically bed ridden and moaning during the film until a shocking windup.

In a purely business observation, Kim Novak was at one time a huge box office draw with films such as Vertigo, Picnic, Bell Book and Candle, Pal Joey, Strangers When We Meet, The Mirror Crack'd et al and MGM and Figgis should have sold this as a Kim Novak return project and they would have made their money back on that. Instead, Kim Novak was ignored by Figgis who in turn ignored this film refusing to do any PR for the project upon its release and sadly this film ended the film career of Kim Novak.

Madonna was supposed to do the female lead but told her then beau Warren Beatty she did not understand the script. Beatty wisely told Madonna if she did not understand the project do not do it. Pam Gidley stepped in to replace Madonna. Wise move on Madonna's part.