Die Theorie von Allem

The Universal Theory: Quantum Mechanics, The Many Worlds theory; Travelers from Parallel Earths, a convention in the Swiss Alps in 1962, all combine to create a fascinating Science Fiction Mystery Thriller. Some have complained that the plot is impenetrable and doesn't entirely hold together but I reckon if they pay closer attention they will realise that some apparent inconsistencies are due to characters flitting between different universes. Some changes are small, in others deaths are reversed. The presence of doppelgangers is important to the unfolding of the narrative as is a love story which transcends parallel universes. Filmed in sparkling monochrome this film could be a homage to many thrillers of the '50s and 60s with scenes lovingly lifted from them. Hitchcock meets Welles with a soupcon of Lynch and a dash of Kubrick. The mountain scenery and snow adds to the film's allure. Directed by Timm Kröger,from a screenplay by Kröger & Roderick Warich. 8/10.

Aspiring physicist "Johannes" (Jan Bülow) is traveling with his tutor "Strathen" (Hanns Zischler) to a conference in Switzerland, aware that his rather radical thinking has narked his professor who wishes him to conform to more established theories. Indeed things are distinctly tense between them when they encounter "Blumberg" (Gottfried Breitfuss) on their train. He has some past with "Strathen" which isn't exactly friendly, but they continue their journey together with the young man promised any help he needs to get his dissertation over the line. Once they arrive, "Johannes" gets caught up in one of the many storms that frequent their mountainside hotel and seeks refuge in a church. Likewise, a few moments later, does "Karin" (Olivia Ross). He's immediately smitten but she doesn't hang around for long enough to even exchange names. Luckily for him, she happens to play the piano in the hotel's jazz bar and so maybe a meeting can happen after all? It's almost simultaneous with their arrival that he starts to feel distinctively out-of-sorts. A sense of déjà-vu often seems to follow him as he feels he has met her before somewhere. Her bauhaus vacillates between the distant and (very) friendly, which he doesn't really comprehend either. Also, his timelines seem to be jumping about and when the avuncular "Blumberg" falls foul of a tragedy his befuddlement takes on an whole new life of it's own? What is going on here? It's as if the mountain has it's own secrets to keep? Is it all just too much wine? Or is there something more sinister going on? His is a mind of the rational and the scientific - ill equipped for matters ethereal or superstitious, so when the police come calling asking questions about the enigmatic "Karin", what can he make of it all? There are some quite intriguing threads to the story, here, as it tries to intertwine the factual with the less easily explicable and the snowscapes, frosty characterisation of "Strathen" and monochrome presentation add effectively chilling elements as the plot reveals a sense of the we know that we are missing something, but we don't know what it is, and we might never know. Unfortunately, Bülow is a bit weak to carry this off, and the annoyingly fragmented story flits about too much to give us chance to really get our teeth into it. Sure, it's quirky, unpredictable and requires us to think on more than one plain at a time, but I found it just didn't give me enough pitons to climb the mountain without sliding down far too often to square one. It does look good and does remind us that perhaps science hasn't all the answers, but I left feeling a little like "Johannes". Bemused.

No pun intended - also not even close to the movie that swept many peoples minds and lives last year (or was it the year before? Time is a weird construct) ... also the movie is not connected with another movie that had a similar title and was about a genius mind ... some might argue that is also a bit the case here ... but that would be a stretch in my book,

So while the main character is quite the great mind (in many different things), the movie might not be able to do the same ... not saying this is a bad movie ... quite the opposite. Also the "black and white" flair - the movie has quality, though I am not sure how many will be swayed ... or are ok with the slow pace of the movie. Keep that in mind, try it out ... don't be too disappointed if this is not your cup of tea ... or Pi (kidding of course)

It's actually a pity, the initial idea is quite appealing and the title and the advertising strategy have aroused great expectations. However, the film gets lost in a long series of quotes, stylistic devices and plot patterns, which were borrowed or copied from the works of famous directors. Thus, despite many mysteries and twists, the story becomes more and more predictable, and thus more disappointing. Unfortunately, the film completely lacks its own cinematic language, which would be necessary to remember the film as an independent work. As it is, however, it remains only as a thoroughly successful homage to Aldrich, Polanski, Lynch, Hitchcock, Truffaut, and, and, ... in memory.

The film is most convincing in its image composition, the black and white photography is beautiful, followed by the excellent actors. What the film would certainly have scored with is almost not used at all: quantum mechanics is only briefly mentioned, and the main character's groundbreaking theory is never explained, although it seems to be the key to the story. Instead, the emphasis is entirely on confusing the emotions, leaving many interesting possibilities for interpretation. The story never builds up to the great mystery that the title implies and becomes more and more annoying and shallow towards the end. What remains is a visually splendidly made film that is strangely conservative in the end.

The Universal Theory is a brooding and cerebral tale, blending mystery, science fiction, noir, and mad love. While it may disappoint genre fans seeking a pure science fiction experience, it excels as a haunting meditation on identity and desire. Rather than exploring scientific concepts in depth, it uses the aesthetic of science fiction to evoke pensive moods and profound existential questions. Though one of many recent multiverse movies, The Universal Theory stands apart, offering a unique and deeply emotional take on the concept.

Cultural touchpoints abound in reviews of the film, and rightfully so. Hitchcock, Truffaut, Lynch, Carol Reed, Dürrenmatt, and Maya Deren have all been referenced, and these comparisons feel apt. More surgically, I'd add Dead Mountaineer's Hotel (Grigori Kromanov's 1979 film and the 1970 novel by the Strugatsky Brothers) and Julien Duvivier's L'affaire Maurizius (1954). Dead Mountaineer's Hotel, another alpine-set sci-fi noir, seems like the film's clearest ancestor, while the paranoia, investigation, and shadows of Swiss-set L'affaire Maurizius resonate here too. And yet, for all its influences, The Universal Theory feels startlingly original, much like Alien-a film that, despite being a swag bag of looted stories and motifs, became its own iconic entity.

The story takes place in the 1950s, when a mysterious physics conference is arranged at a remote, snow-set Swiss hotel. Physics Professor Dr. Stratten and his doctoral student Johannes Leinert travel there, to find out more about the conference. However, the scientific gathering quickly fades into the background as strange occurrences and the enigmatic Karin capture Johannes' attention. Karin, with her jazz-inflected rendition of Couperin's Les Barricades Mystérieuses, embodies the film's central mystery: beautiful and endlessly elusive.

The Universal Theory uses its science fiction framework not for scientific exploration but to probe the fragility of human existence. There is a pervasive sense that something is slightly "off" about reality. A brilliant career reduced to mediocrity by an inexplicable obstacle. Profound declarations of love rebuffed by those we believed were our soulmates. Sliding-doors moments subtly alter the trajectories of lives: in one reality, a professor has ties to the Soviets; in another, he leans west. These questions linger: Could we be anyone? Are our identities largely circumstantial?

This is not a film for those who need clear answers or a neatly tied narrative. Like Couperin's piece, The Universal Theory is intricate and ambiguous, inviting viewers to reflect rather than resolve. Its particular cocktail of genres is niche, and its appeal may not be universal-as evidenced by the bemused silence of my fellow audience members as the credits rolled. Yet, I found myself deeply moved, clapping alone, the film's strange, shadowed beauty resonating long after the lights came back on.

The Universal Theory is a niche masterpiece of strangeness, shadows, and love-sickness. For those willing to embrace its haunting mystery, it offers an unforgettable cinematic experience.