Aimée & Jaguar

Awesome acting job, awesome directing job, awesome script-everything about this movie is awesome! Jaguar's character is a combination of Buffy, Xena, and Winston Churchill. By day, she's Felice Schragenheim, the docile, polite writer for a Nazi newspaper. By night, she's Jaguar, the assertive, insurrectionist fighter for the German Resistence.

The movie also does a great job of portraying lesbian love as just as valid and intimate as heterosexual love. Aimee and Jaguar cultivate a loving, compassionate, loyal relationship. Whether or not it is recognized by religion or government, Aimee and Jaguar are married. They even raise children together. I hope this movie will divulge Jaguar's prowess and humanity and stimulate curiosity about this great woman.

I wasn't expecting much from "Aimee and Jaguar," mainly because my satellite delivery company gave it a rating of only two stars out of four, usually reserved for semi-junk like Batman sequels. But that rating was deceptively low. This is a well-done and even fascinating flick. There are three chief reasons for my saying this.

First is the reconstruction of the period -- 1944 in Berlin. By that time the war was lost for Germany and everyone seemed to know it except the German citizens. Voices on the radio keep muttering on about how unconquerable the Germans are, but evidence to the contrary is all around. Berlin is bombed and blasted, areas reduced to piles of flaming rubbish. Food is difficult to come by. There is gaiety at parties but it is tense and forced. People have no place to live, except for whatever few feet they can cadge off someone else or pay exorbitantly for.

For the few Jews, blending in with the rest, the situation is more than simply desperate. Asked for their papers on the street they try to run and are shot dead. But there isn't anything in the way of self pity here. These women -- they seem to be exclusively females -- are pretty tough and pragmatic cookies. They dance, when they must, with power brokers while the band performs bravely on stage or a samba plays on a scratchy old record. (The prop master deserved an Iron Cross.) Makeup is outstanding as well. Hair is marcelled to a turn, lips are blushed, eyes are heavily kohled. I know I'm getting these words all wrong but you know what I mean. The perfomers don't look as if they were in contemporary makeup and garb with merely a nod to period fashions. The authenticity is such that they look almost alien to our eyes. Gee, and it was only fifty years ago too. Where does the time go?

Second, there is the acting. Well, in a word, it's simply fine, all around. Felice is a beautiful, dark-haired young Jewish woman. Actually, she fits a common German physical template very well, with her thin upturned nose, pointed chin, wide-set glistening eyes, and a pair of those eyebrows that seem to arch up onto the owner's forehead like V-2 rockets instead of hovering placidly over her orbital sockets where they belong. For an unusually good example of what I mean, take a look at Jon Voight's girl friend in "The Odessa File." Felice's German appearance however doesn't detract from the character's believability. German Jews by that time were pretty well assimilated, biologically and culturally, one of the reasons their attempted extermination came as such a shock to them, and to everyone else.

Felice is surrounded by friends who seem to be mainly lesbians, as carefree as the real circumstances permit. Lilly Wust, the woman Felice meets and begins by exploiting, is an equally fine actress. In fact, she really is very good, with her reticence and her frozen empty smile. Lilly is married, but her husband is away at the front most of the time, and she is almost crushed by fear and loneliness. At first, when Felice comes on to her, after their friendship has matured, she beats frantically at Felice's face and chest. Later, yielding to her needs, Lilly goes to bed with Felice, who makes gentle love to her and suggests that Lilly be "Aimee" while she, Felice, be called "Jaguar." I must say that this scene, which is no more erotic than it should be, is a tour de force on the part of the actress playing Lilly. I've rarely seen such a complex of emotions -- fright, awe, sexual desire, loneliness, and love -- projected with such impact. Lilly trembles all over in a kind of Jungian flooding out until, her instinctive repressions overcome, she grasps Felice and buries Felice's face against her breasts. Lilly's husband, Gunter, is a reasonably nice guy too. He comes home to visit his wife and children at every opportunity, even taking French leave from his unit to help Lilly celebrate her birthday. Alas he stumbles into the aftermath of a homosexual saturnalia.

The third element of this film that I find so impressive is the story itself, which I've kind of limned in above and won't go into in any detail. Let's just say that it has everything in it that you might expect in a movie designed for grown-ups. I can imagine a group of teenagers sitting around with popcorn and beer and complaining that, "Hey, this thing has SUBTITLES." And "Why can't we see more of her boobs?" (I kind of sympathize, there.) And, "Why does she get shot off screen so we can't see her brains blown out?" I don't think they'd get through the first five minutes, let alone the whole movie, but if you do, you will find your efforts rewarded.

Lilly, a mother-of-4, disappointed by her unfaithful huband is eagerly looking for love. - In a war-time Berlin where insanity rules: a murderous Nazi-dictatorship leaving no space for freedom, constant allied bomb attacks destroying and killing. She finally finds love in Felice (brilliant: Maria Schrader), a Jewish girl, part of the Berlin Lesbian scene. Lilly breaks with her husband, despite (or because?) of all the terror around they are having an intense love affair until finally the terror proves to be stronger... All this sounds very made-up but it is a true story. Lilly is still living in Berlin having stayed alone since then. And all this sounds like a kitschy and schmaltzy movie, but thanks to the fact that it is not a Hollywood production it isn't. Much more it is overwhelming and always stays near-to-life. A movie about the huming being's will to be happy despite all insanity. Absolutely recommended!

There does exist an expression in the German language that describes this movie perfectly. It's "großes Kino". Literally translated it means "big cinema" and you use it for movies that are really grand: Grand in their structure, grand in emotion and grand in class. If any movie deserves this title then it's this one.

The Plot: Berlin during WWII. We get an insight in the daily life of two complete different women who don't know each other. Lilly is young, married with four kids and because of this can afford a quite pleasant life (as Hitler was fond of mothers with many kids, they got more of everything than other families: more money, more food etc.). So while her husband is somewhere out there fighting the enemy, Lilly occasionally has affairs and while she has her fun with the men, a nanny is taking care of the kids. The other woman, also being quite young, is Felice. Felice is Jewish, works as a journalist for a newspaper and unlike Lilly has to daily cope with the fear of being discovered and transported to a KZ. As if it all were not enough, Felice is lesbian and enjoys life as much as possible in the circle of her (mostly lesbian) friends. Now, one day, Felice by chance sees Lilly in a theatre and almost instantly falls for her. Surprisingly enough Lilly loves her back and they begin an irresistible and passionate affair, which at the time and circumstances back there was like dancing on a volcano…

Of course the film deals with WWII and the holocaust here but the best thing about it is that it's only done on the side. The plot concentrates on the two women, the two different worlds they live in and their feelings towards each other. It's all so intensive and it's not all about two suffering girls who lived in a horrible time and were not allowed to love each other, it's about two strong women with a lust for life who tried not to care too much about the Nazi regime, but to concentrate on seizing the day. After watching it you don't only feel for them, you admire them for having been so strong and courageous. But most of all you get to appreciate love and life again.

A truly great film about a great love in times where this love seemed to be impossible. Based on true events.

This is a beautiful story and a haunting film, set in crumbling Berlin near the end of Germany's second run at world domination. Felice is a young stenographer hiding her Jewish identity and passing stealthily through bombed-out Berlin. She runs with a pack of party-girls, lesbians all, who butterfly their nights away living for the moment in the face of destruction, persecution, and death.

Lilly is a German housewife with four children and a husband on the Russian front. She is introduced, however, as a mistress to a Nazi officer, and the viewer sees immediately that Lilly is simply lost...dutifully serving out her role(s) to the men in her life, yet stricken with a suspicion that love has escaped her.

Then she meets Felice...

The affair transforms both women. Lilly finds love and discovers who she really is, while Felice finds a reason to stop running.

It's easy to forget that bravery in wartime is not reserved solely fo combat soldiers. In these two women, we see courage, hope, and beauty emerge from ruin and desperation. As one of the minor characters points out late in the film, love should be appreciated wherever it can take root---especially when times and situations seem impossibly chaotic.

This director offers an underlying gentleness that makes the movie all the more effective. The performances are passionate and inspired. War news via radio broadcasts is masterfully woven in to frame the film while giving the viewer a sense that time is running out in Berlin. One knock on the film might be that there are too few sympathetic male characters. But, given the setting, maybe that was to be expected.