Der Krieger und die Kaiserin

"The Princess and the Warrior" moves at a leisurely pace, nowadays commonly mistaken for slow or plodding. It is the pacing antithesis of "Run Lola Run", yet in remarkable ways, covers the same thematic ground. Tykwer takes Krzysztof Kieslowski's favorite themes (fate, chance, destiny) and tells one of the most uplifting existentialist tales I've ever seen on film. Poetic in its visceral impacts, heartbreaking in its emotional force, "The Princess and the Warrior" achieves an astonishing level of humanity which very few films ever strive to attain.

As a result, "The Princess and the Warrior" becomes the jewel in the crown of Tykwer's filmic repertoire. With Franka Potente as the emotionally-reserved Sissi and Benno Furmann as the jaded Bodo, Tykwer has created two opposites who are fated to attract. Unlike Hollywood, however, there are no magical forces at work, no clever "Meet Cute". It is very conceivable that these two could have never met, and only due to Bodo's criminal actions do they meet. Is it fate or coincidence that Bodo's run in with the law causes a run in with Sissi? Their interactions are quiet with bursts of trauma, their eyes do most of the talking. Tykwer seems to suggest that Bodo and Sissi's entire existence is to affirm each other's life.

Tykwer has crafted a psychological exploration of two misguided souls looking for an escape from their lives. Stuck in perpetual repetition, Sissi and Bodo live without living, searching for some meaning but incapable of doing so or, even more sorrowful, rejecting whatever is presented to them. This is not a "Pretty Woman" clone but an honestly reaffirming look at two unhappy individuals finding what they so desperately need in each other. Bodo and Sissi's relationship of awkward meetings, misconceptions, and soul-binding metaphysical connections culminates in what I can only describe as one of the most impactful and emotional climaxes in all of film history--period.

Kudos to Tykwer for creating one of the most romantic and spiritually-fulfilling films I've ever seen. A perfect and necessary viewing experience for anyone feeling stuck in the mundane routine of life, thrilling, suspenseful, almost painfully aware of what it feels like to be emotionally and spiritually lost. "The Princess and the Warrior" upholds the optimistic idea that even when things go bad, life is still worth living, if only to help someone else. It is, in my opinion, one of the finest motion pictures ever made.

For me, a brilliant movie. There is so much of it, and any holes were not apparent at first viewing. But if it is not universally acclaimed, no-one is at fault. There's much magic in the hands of this director-writer. The casting is perfect; original in looks and body language, Furmann and Potente grace a modern fairy tale that says, well, something about fate, leaving the past behind, finding what you want right under your nose etc. All the old true clichés. This time, told with exquisite pace (slow), and beauty. A couple of shatteringly good scenes, well thought out, plotted and executed, all rounded out with a black humour and tender touch that keeps it CLEAR of pretension. The ending leaves a poignant, puzzled smile and an appetite for more German cinema. If you don't like this you must be a Van Damme fan.

Now, there was a pleasant Sunday evening.

I never got around to seeing it in the theaters, but just caught it by accident on tele, and even from the start. And it works perfectly on that media as well.

It is a rarely beautiful tale told in so few words, that tell so much. It is little wonder that Tykwer got to make Heaven (a script left by Kieslowski). Few has ever described the love between man and woman so catchingly and so real in so not so extraordinary circumstances. And these are the stories that sticks.

And Tykwer also always seems to get the music right, notice the elegance of the end-title number "You can't find peace" by Pale 3 feat. Skin. Thankfully they still show end-titles now and then on danish television.

There's lot more to write, but the morning a another day at work grows frightfully close.

This will be a fond memory.

Having loved Tykwer's impressively energetic RUN, LOLA, RUN (1998), I was really looking forward to watching his follow-up feature but, somehow, I never managed it until now (I did get to watch his subsequent film, HEAVEN [2002]). Thankfully, it was worth the wait and the result is almost as good. While the film is long and often rambles on rather aimlessly, it is never boring and, at times, disarmingly inventive and emotional; the leading players, especially the enchanting Franka Potente, have a lot to do with the latter quality. THE PRINCESS AND THE WARRIOR's main themes are matters of chance and fate but it also features an elaborate bank robbery and a long stretch of it takes place in an insane asylum (where Potente practices some unorthodox therapy on a couple of her patients) which is not too far removed from the one seen in ONE FLEW OVER THE CUCKOO'S NEST (1975).

Perhaps Tom Tykwer took himself too seriously after "Lola Rennt", so he handles the romance between a nurse and a bank-robber as if he were a young Michelangelo Antonioni taking Psychology 101 and doing his first film. Overlong but somehow still fascinating, thanks mainly to the dark character of the "warrior" and Franka Potente, who is always good to watch.