Yella

If you are looking for a thriller that sweeps you away for 90 minutes go elsewhere. If you are looking for a twister that strives to constantly outwit your keen literary and cinematic intellectual sensibilities with its never-ending brain teasers this isn't it. The film does have flaws but, as a vehicle that facilitates a better understanding of human nature, it is very successful.

Why can't bright people get over the need to duel with the directors and writers of film and, instead, pay attention to what is important? Whatever its shortcomings, this is a look into the psyche of a human being that, at least for me, reveals all the frailties, contradictions and inconsistencies that our species is heir to.

See this film, allow yourself to enter into Yella - then, by all means, dissect and analyze it later.

Petzold is a very controlled and composed film-maker. In this film, as in GESPENSTER, he uses this almost forensic calm and diurnal realism to explore metaphysical issues. So this film, which ostensibly takes place in the aggressive financial world of mergers and acquisitions, is also a film about death, the soul, and guilt. It is a great challenge to look at these intangible themes through the prism of a very tangible, concrete world - but this Petzold does achieve, with beautifully composed and controlled imagery, and even a nice line in wry, ironic humour. There are some great performances in the film - they draw you part of the way in, but nevertheless there is still some distance between viewer and film. This maybe results in a slightly cold viewing experience, but the film has stayed with me long after its end - it is a complex and highly rewarding work, if mainly in retrospect.

Coolly atmospheric reimagination of Carnival of Souls in a contemporary German setting shifts its focus onto a world of surreal business dealings and ambiguous personal relationships; Nina Hoss is excellent in the title role as a woman torn between escape and new entanglements.

Although the way this film will end is probably there from the beginning anyone who complains about that is missing the point. The big pluses are the location, the atmosphere and the wonderful leading lady who was totally convincing as a bullied wife. Even viewed from the back she maintained her somewhat cowed attitude. I liked the hint at an unknown dimension of the spirit as she gained her freedom from her horrible husband. I also liked that the world Yella found herself in was strange and alienating but she adapted quickly because she was used to being pushed around. It's another film that demonstrates how much wiser and more satisfying European films are.

This is the fourth Petzold feature film I've seen; they've all been well-made and all have left me unsatisfied in some way. Die innere Sicherheit is his remake of Running On Empty and has some effective performances but lacks the emotion of Lumet's film. Barbara is a wonderful vehicle for his muse Nina Hoss, but the suspense you'd expect to find in a DDR story isn't there. Jerichow is a version of The Postman Always Rings Twice that is underpowered in its acting.

Now Yella has another effective performance by Nina Hoss--think of Julia Roberts with more acting ability--but the script somehow doesn't satisfy. It's more Daphne du Maurier when you really want Graham Greene. David Striesow as the cynical yet somehow sympathetic Philipp impressed me; I'd want to see him in another vehicle.