Wege in die Nacht

Andreas Kleinert is a highly unusual soul of German cinema.He is one of those few German filmmakers whose sympathies lie with lonely,marginal characters who are trying to make sense of their lives by finding a suitable place in a new reunified Germany.These marginal souls are scared of a Germany where jobs are scare and human beings are falling apart due to lack of human values.His debut film "Neben der Zeit" (outside time) spoke of some marginalized characters whose lives were ruined by economic policies of German state.Andreas Kleinert can be likened to Werner Herzog but there is a risk.The giant of German new cinema movement Wener Herzog is more interested in marginal characters as they are vital for the fulfillment of his eccentric vision.This is not the case with Andreas Kleinert as he uses marginal characters for strengthening the narrative structure of his films."Wege in die Nacht" is a film that brings to mind German expressionism.One can be useful to a society even at an old age.This seems to be the most befitting message of this film."Wege in die Nacht" is the story of Walter,an industrial employee from east Germany who is finding it difficult to live in a post reunification Germany.It is for the first time that violence has been depicted in a positive manner in a German film.This is the principal virtue of "Wege in die Nacht".

You have to see two faces of this movie: first: its extraordinary pictorial sadness and consequence, which is fully reached by the camera, the direction and the excellent cast. (Hilmar Thate and Cornelia Schmaus, above all, show an intensity of face-acting that has become seldom in contemporary cinema.) This face, indeed, seems to be lifted by archaic 1920s-cinema, and it's a miracle that it could resurrect. But we have a second, very problematic face, too. The movie pretends to tell the story of people who are victims of the "capitalization" of former GDR, more generally: people who are considered the invisible "margin" of society. Making them visible, forms a great part of this movie's ethics, and signifies undoubtedly a merit. But here, the script fails. So many unbelievable details. Why hasn't Sylvia left this guy much earlier and why (that's even more crucial) does she seem to be so heavily surprised by his way of acting? (She should have known FOR YEARS that he is, p. e., not able to TALK about important things.) Why are Gina and her brother FASCINATED by Walter? We see a broken, very sick and psychopathic guy, but we don't see a "fascinosum". Maybe there is a failure in Thate's acting, but more important is the fact that a past as a factory's director doesn't explain fully WHY he tends to VIOLENCE. (Despair, by itself, does not necessarily produce violence!) And, after all, we don't have a portrait of the world Walter is opposed to; Berlin appears as an impressive stage-background, not more. We don't really see the details (apart from the metro things) that incite his fury. Here it is where the REALISTIC pretention of "Wege in die Nacht" is going to fail. Besides of this, it is an EXTRAORDINARY film, worth to be seen, in any case.

This film was a total surprise for me. Though the commercial poster of film included one extremely beautiful (mirror) still image, I never would have believed that these days some artists are capable to create such a beauty as this cinematic title is. Visually this film resembles me of 1920s productions, and artistically the watching experience might be comparable to an enjoyment of listening Renaissance vocal polyphony.

If something should be said against this film: violence is partly understandable subject of this title, but no harm would happen to the story if the director followed the wise steps of Fritz Lang - aggressive acts can be shown also in invisible way. Compared to "action" films Paths in the night is a true pearl. Part of the magnetic power derives from the "lack" of colours. (By the way: why don't directors make decisions between black-and-white and colour more often? It seems that almost all titles are colour films without need for colours.) Imaginative world is colourless, just like history.

Sound scape of this film fits well. Limited amount of actors are introduced also through music; four persons, four worlds linked together. Main character's world is naturally the one dominating. He is actually a bit like inspector Dreyfus (Herbert Lom) from Clouseau films - partly also so because of the comedial moments of this film. But first of all, I would say that a tragical theme is the leading one. Like life itself.

I would like to recommend this film for all those who are interested in fantastic pictures and who so enjoy visiting museums dedicated to photography.