Honig im Kopf

Thanks to the reviews of AccessCardRequired and feyza-balak for pointing out some of the astonishing weaknesses of "Honig im Kopf". In addition to that: The problem of the editing is not just about the film's length in general and the louche number of "subplots" (which are more or less excuse for showing the audience proudly the desire of almost every known actor and celebrity in Germany to be a part in a new Til Schweiger movie at least for a second. It seems to be the latest fashion...). Though the story itself urges for intimate scenes where the actors have space to show their talent in favor of their role and the scene, it's high-speed edited in a unnecessary way I've barely seen before. Even the most simple dialog between three people there's hardly one image that stands longer than two seconds. It seems like no one is trusting the impact of the story here. Why else should you cut a quite relaxed dialog like it's an action movie's final car chase? "Honig im Kopf" is a perfect example for what happened to a part of Germany's filmmaking in consequence of 30 years of (bad) commercial TV: it's not about telling a story anymore, true to it's idea, it's characters. It's just about creating a chain of small plot points which have to peak in something that is supposed to be "highly emotional" oder "just funny". The rest is eye-pleasing: interior design out of the cheesiest life style magazines, spectacular shooting locations and of course: super expensive super-slow-mo-camera from time to time just to watch parents and child reunion like they show football-players these days, celebrating themselves after they managed to score. The sad thing is - no one of the teams seems to see or care, though they all did their job far better before (like in "Kokowääh", the first one. the sequel was hell) . And of course: If there'd be anybody out there who could tell Til what kind of path he's walking down, he could easily say: "What do you want? Almost 7 Million Germans went to see my movie, they cried and laughed. So get lost, stupid artsy fartsy guy!" So after all: Is it just a matter of taste? No it isn't. It's a matter of success, that's eating itself. What comes out of that still might look like success, and 30 years of fly-breeding might give you the impression that it's still a success, but if you just take your time - little more than 2 seconds, and check your senses you will realize the smell. Til doesn't seem to have nor time nor interest - no wonder, he's shooting film after film. Even his character here is like that: After Tilda burnt half of the super high class kitchen, he comes home and instead of taking a breath and wondering about the likely smell, his wife has to explain where all this soot is coming from. In it's mixture of lowest level storytelling, high level emotionalizing and inhibited jokes which mostly refer to farting and flippancy - here you have the wiedergänger of the infamous regular UFA-entertainment from once upon a time...

I totally agree with Meta Pomieske and other reviewers who gave this movie one star. I lasted 20 min, may be,just could not take it any longer. First of all nothing is realistic in this movie and it is on the edge of being an absurdous one. The girl was seriously overacting in my opinion,her father a talented actor, was underacting, they made an idiot of the senile grandpa. Everything looked and sounded faked and forced. The movie starts with an underage girl traveling by train with a senile old man hugging a soft toy and it is presented as nothing is wrong with it. Then she allegedly overlooks his absence. Give me a break.

I would like to talk about two characters and the way their attitude is being dangerously idealized in the movie:

First of all, Tilda, the small child almost takes over the responsibility of her parents, taking her grandfather to a trip abroad. She witnesses how her grandpa slowly loses the capability of leading his own life and this is simply not something that a child can handle psychologically. For a child to carry such parental responsibilities is being referred to as a severe trauma in psychology and it shouldn't be idealized in a movie. Moreover, when she takes off with her grandpa, interestingly no one ever wonders where she may be and what may happen to them. So instead of being deeply worried for her, Niko and Sarah brush up their sex life. Really?!

Secondly, Sarah, Niko's wife is portrayed as a very unpleasant character and in the movie, this is tied to the fact that she doesn't want her husband's father to live with them. At the end, where the character transforms into an ideal (!) woman, she quits her job to look after Amandus and to spend more time with her daughter. This is nothing but a gender stereotype being reinforced in a very emotionally abusive manner. Again, such experiences have caused and are causing many women in the world to have traumatic experiences when it comes to having a family and wanting to realize themselves.

I was very disappointed to see so many gender stereotypes being reinforced in the movie. The people of this world have endured enough traumas and they should not be idealized in any way, let alone in a movie by Til Schweiger that is guaranteed to reach millions of people.

I am surprised that so many other reviewers have taken exception to HÖNIG IM KOPF. The visual style of director/ star Til Schweiger takes a bit of getting used to (with fast intercuts between the characters, analogous to a pop video), but the action remains firmly protagonist-focused, especially on the relationship between Alzheimer's victim Amandus (Dieter Hallervorden) and his granddaughter Tilda (Emma Schweiger). The two of them remain close through thick and thin, even when Amandus appears to be losing his mind for good.

The subject-matter is difficult to dramatize, as anyone who has experienced the trauma of coping with an Alzheimer's victim will testify. Amandus means well, but it's clear that he cannot cope on his own; he has lost his sense of direction, and has little or no connection to the outside world. Neither Tilda's father Niko (Til Schweiger) nor her mother Sarah (Jeanette Hain) can really understand the nature of Amandus's condition, and hence it's hardly surprising that Sarah should frequently lose her temper on seeing the carnage that her father-in-law has caused.

The story takes a sentimental twist in the second half as Tilda and Amandus embark on an ambitious journey to Venice, where Amandus enjoyed his happiest days. Some of the plot-lines are highly implausible, especially in the way others treat Amandus, despite his medical condition. But perhaps that doesn't matter; we rejoice in the fact that the old man has a renewed purpose in life, which restores at least some of his connection to the outside world.

Shot throughout in bright colors, with a particular focus on the glorious landscapes of Austria, Germany, and Venice, HÖNIG IM KOPF has a feel-good ending in which Tilda's parents come to understand the true purpose of their lives, while Tilda (who also narrates the tale) realizes that her bond with Amandus will survive, even after his passing.

Everyone have to see this wonderful movie. I was in cinemas 4times for this movie and can't get enough from it. It is a wonderful story and so many people fall in love with this movie and try now to understand there parents or grandparents better, even if they had this illness. The absolutely best movie of Til Schweiger and especially from his wonderful young daughter Emma who will be a great worldwide actress soon, she is 12 years old and played so wonderful :) And the best role is the role from the grandparent Amandus, brilliant play from Dieter Hallervorden. I love all of this movie - you really have to see it !!! I hope that this movie get a lot of prices soon, the German crowd fall in love with it :)