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Die Parallelstrasse

  • 1962
  • 1 h 26 min
AVALIAÇÃO DA IMDb
7,3/10
244
SUA AVALIAÇÃO
Die Parallelstrasse (1962)
Drama

Adicionar um enredo no seu idiomaFeature-documentary "pointing up a thousand facets of this world and probing to determine what may lie beneath the surface".Feature-documentary "pointing up a thousand facets of this world and probing to determine what may lie beneath the surface".Feature-documentary "pointing up a thousand facets of this world and probing to determine what may lie beneath the surface".

  • Direção
    • Ferdinand Khittl
  • Roteirista
    • Bodo Blüthner
  • Artistas
    • Friedrich Joloff
    • Ernst Marbeck
    • Wilfried Schröpfer
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    7,3/10
    244
    SUA AVALIAÇÃO
    • Direção
      • Ferdinand Khittl
    • Roteirista
      • Bodo Blüthner
    • Artistas
      • Friedrich Joloff
      • Ernst Marbeck
      • Wilfried Schröpfer
    • 4Avaliações de usuários
    • 3Avaliações da crítica
  • Veja as informações de produção no IMDbPro
  • Veja as informações de produção no IMDbPro
  • Fotos

    Elenco principal6

    Editar
    Friedrich Joloff
    • Protokollführer
    Ernst Marbeck
    • Gremiumsmitglied Nr. 1
    Wilfried Schröpfer
    • Gremiumsmitglied Nr. 2
    Herbert Tiede
    • Gremiumsmitglied Nr. 5
    Werner Uschkurat
    • Gremiumsmitglied Nr. 4
    Henry van Lyck
    Henry van Lyck
    • Gremiumsmitglied Nr. 3
    • Direção
      • Ferdinand Khittl
    • Roteirista
      • Bodo Blüthner
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários4

    7,3244
    1
    2
    3
    4
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    6
    7
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    9
    10

    Avaliações em destaque

    10Gloede_The_Saint

    Die Parallelstrasse / The Parallel Street (1962, Ferdinand Khittl)

    The number 188 appears, then the screen goes completely black. We hear noises and words spoken in many tongues. Then as suddenly as it all began we find ourselves in a poorly lit room, photographed in black and white, where a clerk stationed at his desk tells five men, seemingly researching documents that this is the end of the first session. Soon, after the credits are done rolling, we're told that this is the end of "Part 2".

    The clerk is our only direct link into an logical comprehension of what is appearing before our eyes. In the early minutes of the film he confesses to us his sorrow over how the five men cannot comprehend the documents are mirrors of their own existence. He comments on their futile efforts to make sense of what's before them. How they have made a meaningless chart and made rules that comes to nothing. He notes that they will fail, like all before them, and that at the end of the last 90 minute session their lives will end.

    And after this introduction "part 3" may commence as the five men goes through document 189, 190, and so on in the hope of reaching the last document 310 before their time is up. The documents themselves are segments filmed in color covering parts of the world, the human mindset, human constructions, etc. usually with an attached set of information the clerk reads out. We are now to follow the men try to make sense of what's put before them and the discussions they have between them. Their tone is calm, and relatively collected.

    Whether or not the exercise is an allegory of life and the human existence can be debated, I felt this was the most comprehensible solution, but this is about so much more than simple answers. I cannot underline many enough times what a unique experience this is. It harbors an obscure sense of poetic beauty, that much like the documents explored are slightly out of our comprehension. Be it an astute beauty of life, a melancholy feeling of being lost or simply the joy of watching and partaking in such an astonishing artistic creation/experience, this movie manages to cover so much emotion, and perhaps even information, without ever really revealing its core or giving us something we can easily grasp and categorize.

    The fact that it consciously incorporates into our minds that this is the last part of a larger picture was also something I could not easily shake, and it stayed on my mind throughout. First I thought it was a negative, a form of unnecessary confusion, but now, in retrospect, I view it differently. It not only creates a craving for more, but it creates a sense of claustrophobia, and in a lesser sense bewilderment. With the exception of one re-evaluated document you see none of the 187 first documents, and the exercise itself is a mystery, we know nothing about the surrounding situation and reasoning behind what we see. I found this to create an incredibly strong experience for me. The Parallel Street is a film I will never forget.
    4filmreviewradical

    Take The Parallel Road

    An example of an early 1960s experimental 'documentary' feature film pre-dating the new wave of West German cinema by several years, and directed by Czechoslovakian born Ferdinand Khittl. Here 5 men (with an overseer) assess and order documents on 'a person in question'. Numbered films (in colour) are shown to the men of various aspects of the world we live in to an evocative narration. These film documents are described by the overseer (in relation to the 5 men) as 'mirrors of their own existence'. Seeming deliberately incomplete, with a kind of poetic stream of consciousness narration during the colour films (which contrast with the filmed in black and white prosaic conversations of arguments and debates of the 5 men and the overseer), the screenplay by Bodo Bluthner is often confusing, full of repetition, reversal (the slaughterhouse as birthing house), and can be seen and interpreted as a lot of things - a meditation and interrogation of the world, a rumination on meaning, order, categorisation, a comment on German bureaucracy, objectivity and subjectivity in film, surface and reality, the link between things, perspective and death. Although the images of Ronald Martini's cinematography are watchable, we're not sure how accurate (or lost in translation) the English subtitles are, as we seem to have a certain amount of incoherence and non sequitur here - but perhaps that is the point. How do we understand and interpret life and the world we live in? Take the parallel road.

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    • Conexões
      Featured in Les écrans de la ville: Episode dated 22 January 1968 (1968)

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    Detalhes

    Editar
    • Data de lançamento
      • junho de 1962 (Espanha)
    • País de origem
      • Alemanha Ocidental
    • Idioma
      • Alemão
    • Também conhecido como
      • The Parallel Street
    • Empresa de produção
      • Gesellschaft für bildende Filme
    • Consulte mais créditos da empresa na IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      1 hora 26 minutos
    • Cor
      • Black and White
    • Mixagem de som
      • Mono
    • Proporção
      • 1.37 : 1

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