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Movie scenes I ... if you want, I'm here for you ...

in: Widows. Heino Ferch - Vince Travelli. Directed by Sherry Horman, 1997-98

by: Ignaz Wrobel

Widows - First marriage, then pleasure. Heino Ferch - Vince Travelli. Directed by Sherry Horman. Book: Kit Hopkins. 1997-1998

Before the scene.

The attorney Berndorf Elisabeth (Katja Flint) has adopted a rather unusual case. Actually it was the Rock singer Vince Travelli (Heino Ferch) yes, the client of her husband, the much older Dr. Charles Berndorf (Martin Benrath). Charles is the case - a trifle - for lack of time at short notice to Elizabeth.

Charles and Elizabeth Berndorf are long-time partner. Mutual respect, trust and familiarity, but also the issues of difference, determine both relationship. Charles is in his mid sixties.

Elisabeth early forties is still not entirely unreceptive melting for the sex appeal, the scent of the young men. She wonders about her young-girl nervousness that in Vince's close to her again and take more ownership.

Vince is drenched in sweat, when he went to his concert rehearsal in Muffathalle Elisabeth alone in the foyer meets. It smells good, stunning male is devoted, strong, sexy and full of life. Elizabeth gives in, is so excited to be desired by the brilliant young stallion.

quickly becomes the client Travelli her lover Vince.

Vince not gesettled, he tried, nibbles of all flowers, playing the sex game like Mah Jong, guitar or whist. He is on the move - here today, gone tomorrow.

Anders Elisabeth . Your life is in fixed paths, career, partner, social Position - she lives in a flawless classical stately home - in one of the palaces in Bogenhausen, not far from her office in the Villa Stuck .

of sex with Vince's beautiful - happiness is short. Vince and Elizabeth are living on different planets, the distance spanned no bridge. to learn this fact is, for Elizabeth, the liability is accustomed to pain.

the scene.

gravel bank of the Isar river, summer, sun. More precisely, circa. Fifty yards from the Oberföhringer military . The Aumeister there is not much that English Garden Biedersteinerstraße road in jogging distance. ( memory of student days ...; - ) .. . The illustrated carnival poster I have time in my honorable and busy role as co-tutor (modern name for Court Jester) from home I + II 22 years ago in the style of Alphonse Mucha even drawn. They use it still unbelievable. )

bird's eye view. The English Garden pushes its green close approached the gravel banks of the Isar, the horizon of the fireplace Muffathalle . Quite small on one of the gravel bars a woman in a trench coat: Elisabeth . She waits.

cut to the gallery of the dam . At the sill stands a man in a black jacket, black shirt: Vince. He has been waiting for. At Elizabeth.

When he sees them, he burst sprints.

section. We

bottom of the gravel bar at Elizabeth, in the background the military, arches, yellow walls, the red tile roof glistening in the sun.

Vince brought runs, spread out his arms.

Excuse me, I'm late.

Violent hug, kiss.

conversational tone. He walks backwards in front of her.

You have brought me to an idea, I've written a new song ..

Oh, yes . Elizabeth's mood is in the minor, she looks down.

Vince notes yet. Pride:

Jaha ..

He pulls out the sheet music, continues to run backwards. Elisabeth takes little notice of him walking. He finally felt that Disharmony in the air. He sits down at her side, put away the sheet music. Compassionate.

What is going on?

two go together. The bad news:

Elisabeth: He knows. (Charles.)

Vince, close beside her, you told him?

Elisabeth: That was not necessary .

Vince goes offline, put his hands in his pockets staring straight ahead.

sudden turn.

Yes and now?

Elizabeth shrugs:

not know. I know nothing at all. Yesterday is' what strange happened. You are probably one of the plane crash. I've thought, my husband is' in the machine ..

Vince again in more detail: O God! Terrible. Yes you have to be completely nuts. He puts his arm around her. Kisses.

Elisabeth: Yes . .. No. .. I was very quiet for a moment, I thought hab'an us as we sleep together.

Vince breaks away from Elisabeth:

wait, your husband dies in eight thousand meters high and you think about sex?

Elizabeth, apologetically. Na, Here's hab'ich not mean ....

Vince applied. How did you 's it about?

I felt liberated hab'mich for a moment.

Vince falls into her word: Freed, your husband is dead and .. (both talking at the same time, do not you understand) ... is that what you mean?

He screams. Till death do us part is that your future plans?

Vince is properly applied, angry insults.

Now Elisabeth also cries. Vince You understand me completely wrong ...!!

break. Wall between the two. It's about liability. Vince suddenly turns his head away. Think what. Come back inside, hands akimbo on her hips aggressively:

We have a lot of fun together but must be because everything is always for eternity?

re-break. Disappointment is growing rapidly on both sides.

Elizabeth shakes her head. It is only a word:

idiot.

She runs off. It does not, she runs.

Vince stops, is not about first. High internal pressure, feels shit.

Then he shoots it to Elizabeth around. She's already gone. Restless perplexity. No solution. Since yawning chasms

.

Much later.

Charles Bern village but still died. A heart attack.

Elizabeth breaks down completely. They stunned immediately with alcohol. Her friends help her to be able to attend the funeral of her husband are back.

scene in the neo-ambulatory the Funeral Chapel, just before the funeral. Afternoon. birdsong. Many people, all in black.

Elisabeth Kondolenzdefilee must endure. The others are all gone already in the hall, followed by Elizabeth, and two friends. The two friends resolve to proceed.

Elizabeth takes a few steps alone.

suddenly shoots from the side between the columns through a man in a black leather jacket and sunglasses on it, keeps it at arm. Elisabeth knows at first not know who is the man.

Vince quickly takes off his sunglasses. Recognition.

Elizabeth, surprised, delighted: .... Vince ...

Vince is very different when we met him. He is serious. Burning sad.

When he says: The I'm very sorry to Charles., we believe him.

Elizabeth looks at him long, examined. When she feels that he plays to nothing, she replies:

Thanks ..

Close Up Vince. He looks genuinely concerned. Hesitates. But then, a little breathless, a membership:

.. If you like, I'm here for you ...

We do not see Elizabeth's reaction, other women have recognized Vince, whisper, indicate it. Elisabeth is claimed by a Exkollegin your deceased spouse.

Vince attempts a daring jump over his shadow. Commitment, support, care, Reliability.

Pleasant.

- -

1997-98 Heino Ferch (aged 34) - Vince Travelli, Katja Flint - Elisabeth Bernsdorf.

(. Airlift see also the scene on the street ran away when the son .. Then you'll be there for him.)

- - -

film criticism (Character Ferch) on www.schnitt.de

film criticism (-) on Rhine-Zeitung.de

storyline on zelluloid.de

storyline on moviemaster.de

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scenes I ... He does it better than you ...!

in on Saturdays, when is war. Part 2B.
Wolf Portrait - Heino Ferch.
Director: Roland Suso Richter, 1993-94.

by: Ignaz Wrobel

<-<- zurück zu Teil 2A

Listening instead of reading - cinema for the ears. For Audio.mp3 Live Stream> ->

... he does it better than you! .... In on Saturdays when there is war. Part 2B.
Wolf Portrait - Heino Ferch. book: Klaus-Peter Wolf , directed by Roland Suso Richter. 1993-94

We see the car in the rain-soaked asphalt strip, left and right of the street trees. The headlight beam milling in the fog.

Voice over Renate: You're crazy, You did well not anymore all ....!

Wolf: Well, he's concerned about you, your Gino?

Renate: Lass'mich off immediately.

Wolf, quiet, deep voice, rough:

You stupid bitch.

She looks at him. She feels that they are in danger, that he is unpredictable.

He hits her in the face.

She is horrified anxious - to hold the cheek.

Wolf: Of all the breeding bull of the Itakermafia! Well, that is' his hobby - German fucking women, did you know that?

Renate: Let me get off now!

Wolf: Ausländerhure!

Now he spits at her. You are the insult to the German woman.

Renate: You are more than the insult to the German man!

Wolf, roughly, me sick when I think of it that he has put it to you inside.

In his rage, he veers off the road, a border post have to believe it. The car rumbles over the bank and stops.

Renate, who was not strapped, has his head on the window beaten bloody ...

laceration to the eyebrow.

insert their hand flat. Blood drips into it. Thick, heavy dark red drops ...

She looks excited over to Wolf, just before the wines. Then wins her anger.

You stupid ass You, You did not anymore all!

It proposes indiscriminately at him.

You idiot! He warned me about you. (see hibernators. Before the Sleepers on the road) all. Anybody who is' like you ... ..

Sudden silence. Both breathing heavily.

Wolf looks away. This moment she uses to start an escape attempt.

It creates a few steps away from the car, then he has been captured.

re scuffle. He shakes it.

Wolf:

Tell it not 'is true'! That you have driven it!

Renate:

True. And if we do it - If you want to know, he's such a ...

Renate Wolf pushes her.

Renate: He does it better than you.

Close Up. Wolf's face in profile in the bright lantern light .-

It is frozen.

Renate: ... if there is to know what you wanted.

He grabs her, wrestles her down, is above it.

She lies on her back, Wehschreie, briefly, in high distress

It's dark, we only see silhouettes, white line of code from the bright light illuminated the body on a black ground. Black stone base.

He is kneeling on her legs, holds his arms.

Close up

your upper body. Her face, her Defensive movements, the upper body is trying to extricate himself wolf control. (See hibernators dispute)

The rebellion only shows fear, panic, uncoordinated movements, it will not make it.

Wolf forcing Ringer handle any movement back to the ground.

We do not see it, but understand that the rebellion of the upper body is an attempt to wrest a violence that takes place outside the frame.

your screaming intes-turned. ... I distorted hab'doch only joking ...

is blurred a pain he inflicts her straight.

you are noises like someone in pain and panic can not cry properly.

Well, he roars, makes you fun?

your face - eyes wide open, she is still breathing, pushing - Dimly we have seen his fingers around her neck.

insert on her thin young girl's leg in disco-boots. The leg twitches, is slack.

silence.

section.

<-<- zurück zu Teil 2A

1993-94 Heino Ferch (aged 30) - small wolf head, Renate Kroll - Nick Saar

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scenes I .. You, Wolf? This is Gino's car! ...

in: Saturdays, when there is war. Part 2A.
Wolf Portrait - Heino Ferch.
Director: Roland Suso Richter 1993-94

by: Ignaz Wrobel

Wolf ... You ..? in: Saturdays, when is war. Part 2A.
Wolf Portrait - Heino Ferch. book: Klaus-Peter Wolf , directed by Roland Suso Richter. 1993-94

indicative: the storyline

Listening instead of reading - cinema for the ears. For Audio.mp3 Live Stream> ->

to Part 2B-> ->

Before the scene

skinheads celebrate themselves and their Indeed, in the back room in Kazan, a local pub. Wolf left the feast and the phone. With Renate, his copies he wants to meet her. From Renate says. She goes on that evening to a dance. With someone else.

the scene.

night. Bushes. A young face, a cigarette butt in his mouth. Wolf
small main creeps in the dark, approached Night at the Park at the house, takes place in the brightly lit conservatory, the party to which Renate is also gone.

Renate Wolf sees dancing fun and relaxed. It sucks with an almost aggressive violence on his cigarette. He entsaugt the smoke so greedy as he choked into previously forced into the beer out of pitchers and cans in themselves, had. As containing the Substance is a solution, a release.

Close up

Smooth angry face hardened. He sees Renate. As they kiss and a party host itself. Black
shocked, sad eyes of a child in a bad ekelhassenden young men face.

anger, a flash-breathing motion. Spits the cigarette away, spit them out with a gesture of contempt.

Close Up. Wolf's eyes through the bushes round.

He hates all this, the pouting of Dixie Non-land-ability. Breeds, breeds revenge.

same gesture of contempt for the proles, he bepinkelt the job.

Suddenly, in the sound of pee into it, even more water. From above. It flows on Wolf's face. He closes his eyes in disgust. It was not urine, but water from any of the profile that ran down his face.

Renate dances, kisses. Wolf's Lurking we darker, more stubborn. With his leather glove murderer, he wipes the water from his face.

What remains is a black eye from bulging eyes, a breathless brooding. Jealousy. He has to close his eyes. Jealousy hurts hurts. His face is wet. Water drops like tears run down his cheeks.

Bitter distorted mouth. The eyes then again, on what would no longer see it.

Renate he's had enough. Renate like the shadow man no more, they want somebody in the light.

He runs away.

now.

When Wotan will continue to fight drunk. And - in the style of drunken hooligans - bawled. The alcohol really heats up.
howling in chorus:

Am I glad I'm a skinhead, skinhead is because the way of live.

night. Yogi wanders around outside.
He is confused, produces technical camera movements are doubled by long exposures. We understand pictorial yogis disorientation.

again at night in the park

Renate leaves the festival. Your new acquaintance will bring them home. Gino. Renate prefers to go home by bike. From a car, we observe their farewell kiss.

car Affairs - Cut to the driver of the car: Wolf. He looks to Renate horrified when he watched a pain. Open mouth, pale, pained look of dark shadowed eye sockets. Transverse folds zerfurchen forehead. The cool superiority, which he displays in front of others is not even remembered.

A Tortured sitting here, hatred and jealousy take your breath away.

Renate, playfully: ... not, Gino!

Gino: You can sleep here ...

Renate: No, I have to get out tomorrow.

Gino: Well, I give up. I drive you home.

Renate: You're drunk.

Gino: ... I contract ' ' ne thing ...

Renate. I'll take the bike!

kiss.

Wolf is behind the bar for cover.

Gino recalls Renate: Ti amo!

Renate: I you too! Ciao!

We see through Wolf's eyes as Renate swinging her pretty ass on 's wheel and drives away.

Close Up Wolf. Perplexed look excited to Gino, then to himself. A blow to the valve makes its tension air.

Gino goes in and starts cleaning up.

We Outdoor.

Wolf proposes a Gino's car at his elbow the window. Enters. Includes short. Starts. The engine roars. Accidentally, he goes into reverse gear. The car leaps backward, while bangs. Then forward. Full throttle. The tires on neigh. He runs.

We in the car close to Wolf. Engine noise , Whimpering the tire, hurried zigzag journey.

section.

Renate remains with the bike stand. Look at their minikleidbehäkelten Popo, patent leather jacket.

long shot. She looks after the noisy car.
approaching from behind, two light cones. The headlights of cars Ginos. Renate expected to see Gino at the wheel. She thinks he's traced her. The car stopped beside her.

Renate. Gino?

In the car.

Wolf pushes the passenger door from the inside. Renate wants to put into it already, because they recognize the man, the "wrong" driver.

Renate: you Wolf? This is Gino's car.

Wolf, calm, alert eyes, lurking: Steig'ein I fahr'Dich.

Renate snotty: It's over.

Renate Wolf packs with a quick hard feeling, it pulls the arm into the car speeds away with it. The bike falls over.

to Part 2B-> ->

1993 Heino Ferch (aged 30) - small wolf head, Renate Kroll - Nick Saar

Vera Bilewski - Angelica Domröse

Siggi Schmidt Mueller - Mark Knüfken

Yogi Schmidt Müller - Felix Eitner

Heinz, Veras Assistant - Martin Armknecht

Gino Oliverio - Martin Halm

Kurt Rost - Patricia Rapp

Gisela Klein Haupt - Isolde Barth

Ernst Wolf - Dietrich Sprenger

Wotan - Walter Spiske

Frau Schmidt Müller - Brigitte Schauder

Herrenschmidt Müller - Michael Hanemann

GP - Alexander May

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scenes I ... night. Heavy breaths. A thud ...

in: Saturdays, when there is war. Wolf Portrait - Heino Ferch 1993-94

by: Ignaz Wrobel

... night. Heavy breaths. A thud ... in: Saturdays, when is war. Small Wolf Portrait Main Heino Ferch. Director: Roland Suso Richter. Based on a novel by Klaus-Peter Wolf. 1993-94

to Part 2A-> ->

the scene.
destruction.

night. Heavy breaths. A thud, - as on stone.

Cracked camera pan to a Star of David. It is made of basalt, a relief on a grave stone. The striker has blasted off a corner.
respiratory shock - shock.
Cracked pan alternate between a face and the star. After each swing, another corner is chipped of the relief.

The face belongs to a young man, down to the scalp hair shaved off, distorted face. He takes a baseball bat with a heavy stone on the grave.

Background music:

A man's voice singing a Russian Orthodox hymn. Hall.

A second face, hair shorn, dangling Gothikohrring. The second looks on. Still.

section.

wall. Cemetery wall from the outside. We look down from above . A young man runs brought up against the wall, seems to want to enter.

section.

wall from the inside.

Close up face and arm of the second man. The stretched arm holding a spray can, we hear the hiss of spray. He sprayed with red paint words on the wall.

section. Wall outside.

A tear swing follows the boy. His movements are uncoordinated, he slides back against the wall along, childlike searching gaze.
The boy is obviously mentally disabled. It's Yogi, the younger brother of Siggi, the sprayer.
shot over Yogi, Yogi runs, face raised, anxious look. He apparently heard the shots on the wall inside.

section.

Very close to the angry face of the grave stone zähnegefletschte bat.

A torch passes over a second grave stone - we see a Hebrew inscription.

The racket from the beginning. He takes front of us, and strikes, just past us on the star.

angrily contemptuous grimace of the man. The stone falls. The bat is breathing down his adrenaline rush. He is pale, hollow eyes, aquiline nose, mouth brutal. The man is Wolf, the head of a skinhead band.

section. The boy has reached the cemetery gate and looks through the bars frightened, uncomprehending.

section.

more blows with a stone hammer the yard-long stick. We see the expansive movement with both arms, the impact of the heavy stone on the grave stone crusher hear. The destroyer carries a Third-Reich-military jacket, Nazi Order, Knight's Cross.

The bats get the ball on the ground to burst. He breaks through transversely.

Close up on the face of the racket. From zähnegefletschtem hatred contempt, lower lip is pushed forward, hate-distorted mouth, the lips full of saliva.

Fast cuts.

two feet in combat boots. The boy at the gate of a claw at the bars, is afraid.

section.

One skinhead accusing the other of the baseball club.

Personal Perspective examines restless on the ground back and forth, the first of the two bends down, manipulated, something close to the ground.

Now we see the beam of a liquid from a canister. The skinheads drench the place with gasoline.

cut on the bat, wolf.

A schattenhafterTyp, soulless, gray, breathes heavily from the effort, victory pose, happy, hate-distorted mouth, smooth face. Looking into the light, victorious pleased.

The others go on for him. The hand with the torch goes to the fuel on the ground.

with a puffing sound skips on fire, filling the entire field of view, we can only see blurry, flickering light.

The voice of the singer chant louder. The camera moves backwards.

A halo around flames.

The melancholic yearning voice that intones the great hymn, has become the main theme, the image of dancing flames illustrates the melancholy, the melancholy of the song.

More and more we see a shape in the fire roads:

The neo-fascists, the gasoline had been poured into swastika shape. A flaming cross with four catches covering the consecrated ground of the Jewish Cemetery of view Hausen.

between the damaged grave stones.

We hear priests and women's choir in singing antiphonaries change. look to steep from the top we defiled and destroyed rows of grave stones. The skinheads stand around, look at her work.

Close up on yogis eye. In his pupil reflects the flames of the burning cemetery. (Sa treasure of Troy. In the pupil of the child reflected the flames of burning Troy.)

Close ups in the fascinating excited faces of the perpetrators.

The leader, Wolf, has placed a black sunglasses, impassive face, he stares into the flames.

Yogi are sounds, no words can express his feelings he has in babbling to sound sequences. Siggi, his brother goes out to him.

- - -

to Part 2A-> ->

1993-94 Heino Ferch (aged 30) - small wolf head, Mark Knüfken - Siggi Schmidt Müller, Felix Eitner - Yogi Schmidt Mueller.

novel by
Klaus-Peter Wolf on Saturdays, when war is. TB Droemersche Verlagsanstalt Th Knaur Nachf, Munich, 1994. ISBN 3-426-60390-X

- -

It should be noted that the role figure of skinhead Wolf small Main (Heino Ferch) fascist ideology and its impact not supported, but sharply criticized .
The role of the Wolf exemplifies the destructive neo-fascist of thought, that is, Wolf shows us in his actions, that hatred and violence lead to the demise .

FIG Wolf also shows us the same time which circumstances - can in a young man caused such ideas - poverty, unemployment , intrafamilial oppressive circumstances.

(see the role of Lieutenant Colonel Rauf, the expanding in many styles and motives for action, the role Wolf. )

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scenes I .. There are two that do down. .. Is my child ...

in: The Wall Berlin '61. Part 4 Director: Hartmut Schoen. 2005-2006

by: Ignaz Wrobel

<-<- zurück zu Teil 3

Listening instead of reading cinema for the ears to our podcast Motion: Streaming Audio.mp3 -> ->

escape.

Before the scene.

Paul, the son of John and Catherine tries his hand to overcome the border in the west to be with his parents.

He flees his pioneering education in a children's home, roams the streets looking for food when his piano teacher Lavinia Kellerman finds him and takes up with them spontaneously.

Lavinia persuades Paul to go with him in one of the houses vacated by tenants border with windows front directly back to the Western Region. Lavinia plays the companion of the pioneer Paul, who is on behalf of the party to thank the border guards for their work.

The two manage to go unnoticed in the upper floors of the house to arrive. On the ground floor and first floor windows have been bricked up. Addition, there is no coming, only the windows on the second floor are still accessible.

Lavinia and Paul wait on the second floor hidden until it is dark.

you will not actually discovered.

John and Catherine had to go see her son in the afternoon to the house and leave the place.
All the time they are just beyond the barbed wire and watch over the house, where they know their son.

the scene.

evening. It is dark.

Paul goes to the window and sits on the windowsill, his legs dangling down already, as Cathy tries from below to give her son characters. She pulls himself together, reduced their gesture language into unremarkable.

Hans secured with anxious eyes to the border police before he dares to look up to his son. He laughs briefly.

Now that something is moving, hope can be filled, Hans' previously seemingly empty shell again with himself, his will be me. He wins very quickly substance is there, begins to act.

few steps take him to a police officer. He speaks softly.

There are two that do down.

... is my child.

The policeman responded presence of mind. He remains motionless, inconspicuous, but asks awake, alert and quick:

Where?

Hans suppress his excitement, very quietly and gestenarm:

Since behind me, on the second floor.

The policeman takes a discreet view of the place, recognizes the situation and goes for a

... wait ...

away.

A second policeman secures West with an uneasy look the Ostgrenzpolizisten. We also take a look over to see three guards there. You have notice anything.

Close Hans.

We see him from behind. He walks away from us. Even in those few moments, as we only his back see, we notice he looks like a man who just expected any time a blow to the neck.

The policeman agreed on radio phone the fire department.

.. twenty-four to one, twenty-four to one ...(...) ... but very quickly ...

we hear.

Hans to Catherine:

The pick someone. I believe, the fire department.

Paul sits at the top on the window sill of the second floor, approximately. ten meters above the ground, his legs still dangling outside. His Mother means nothing to him

jump ....

Paul waits. wait all the policemen, passers-by, Hans, Katharina. Unfortunately
look more and more highly of people around to Paul. The eyes of the onlookers grab the attention of border guards also on the job.

We are close behind Catherine and Hans. We see them up to the second floor.

not jump ... ...

Catherine repeated softly.

We see Paul as a small silhouette against the lighted room background.

your jump Dared Not him. whispered Catherine.

now stand around, eleven spectators, all look up to Paul.

Paul gives his mother a sign that he understood them.

On the east side at the border guards . You want to smoke. The one on the other hand, Give

me one time.

Na jez catch 's slowly to keep the foot is about time.

We're already seeing a total of seven eastern border policemen and soldiers. They smoke, a look through the barbed wire fence over to the people in the West.

He erlauert that something is wrong. People behave in a conspicuous deviance.

subjective view through the eyes of the border guards. He sees Hans. And even Hans' eyes to his son is the one who draws the attention of the eastern border to the hot spot.

undertone The soldier shit, man

lot Alert! Give alarm man!

already shouting the police commands.

Paul at the top. He looks at Lavinia.

The siren begins to wail repetitive.

The couple further hopes to win the race against time. John is excited, worried, frightened, looks around.

section.

In the room with Paul and Lavinia. try

Lavinia tries to push furniture against the door to save time when entering the border guards.

The chest is too low to block the door handle.

The soldiers have Door reaches . Screams from outside. Paul is still sitting on the windowsill. The fire department comes and does not come.

The men begin to pursue the door, Lavinia has, however, is crying to Paul

Stay at the window, stay at the window!

Paul does not obey, he rises from the window sill, will help Lavinia.

We back down to the parents.

We see what they can see that Paul disappears from the window.

behind John and Catherine are now about twenty, thirty passersby. Hans is afraid, still holds his wife by the shoulder, it holds.

top of the room.

screams. The policemen shouting that they should open the door.

The door bursts under the continuing shock of a fire ax.

insert on hands and feet of the two in the room, we see how their power is not enough that their feet are pressed together with the dresser across the floor backwards.

The two can not keep the dresser.

Lavinia crashed.

A border guard of the door is furious blows with their rifle butts.

He enters the door. Paul runs to the window, Lavinia screaming at him ...

We do not understand but Paul chooses in his panic to seek shelter in Lavinia, he runs over to her, clutching it, fear.

The door gives way.

More than ten border guards penetrate, aim your guns at the crying woman and the boy.

The escape attempt failed.

Our last look up here in the room drops to Lavinia and Paul. Lavinia Paul holds close to her, over her shoulder we see the frightened children view.

section.

in from outside the window.

approaching the black silhouette of a border guard and closes the window sash.

section.

We front of John and Catherine . They stop to look up to the window. Behind them, drives up the fire department, police car with a big head.

Catherine was still shocked rigid.

Hans empty black look is already there, where he will find his son

of nowhere.

He turns around and walks slowly through the people away from the spot. He disappears from view.

The camera goes into the bird's eye view over the heads of the people.

We hear the voice over the speaker.

The Kuhlkes waited -

.... even when it became clear that they do not see her son would.
.... As they led their lives on, they waited.

Like so many.

you twenty-eight years, two months and twenty-eight waited days.

Then the wall fell.

.... and when they met again, they were
alien.

- - -

2006-2007 Heino Ferch - Hans Kuhlke, Inka Friedrich - Katharina Kuhlke, Iris Berben - Lavinia Kellermann, Axel Prahl - Erwin Sawatzke,

Frederick Lau - Paul Kuhlke, Wilfried Hochholdinger - Horst Kling game (educators in the socialist spirit) , Markus Boysen - lawyer Dr. Hanno of Krampnitz

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scenes I "Hans !-...'s the nich'mehr or what?"

in: The Wall Berlin '61. Part 3 2005-06

by: Ignaz Wrobel

source image and all image rights teamWorx Film production company and WDR (West German Broadcasting)

Listening instead of reading - cinema for the ears Audio.mp3 (Speaker: Ignaz Wrobel)

<-<- zurück zu Teil 2 to Part 4 Final-> ->

Before the scene.

The couple, Hans and Catherine Kuhlke hopes that the furniture store owner Erwin Sawatzke stretched above them money for a lawyer.

The lawyer should try to Paul , the Son, herauszuschleusen to his parents in the West.

Erwin are Catherine behind Hans understood without a word back that he will hold out against the attorney fee payment in the form of sexual service. Catherine goes into it.

says After the consultation with attorney Hans them what happened. Hans governs the matter with his fist. The confidence to his wife but has taken havoc. And the lawyer had to destroy his hopes, Paul recover by legal means.

The couple takes in the neighborhood transit camp Marie Felde.

The conditions there are similar to conditions in an overcrowded hostel during the high season. The last corner of privacy must be abandoned there. Hans forfeit its power to act externally. He himself fully into herself.

The loss of his son, the loss of women, their necessarily reliable solidarity, pushes him in a personal solitude, the stifled any impulse to act.

the scene.

We see John and Catherine in a cramped metal bunk beds with room. It is evening. Hans is on the lower bunk. Catherine him to cover and leaves.

Outdoor she hears that the American Vice President Lyndon B. Johnson will visit Marie Felde.

next day, the women paint banners for the visit. On the banners they formulate their requests to the Vice Chancellor. Hans helps not.

He is only passively on his bed. Catherine can not persuade him to join.

gym.

We look Katharina over your shoulder and see her. She writes:

I want my child back.

suddenly she's angry. She jumps up and goes into the dormitory.

Hans is dressed on the bottom bunk of the bunk bed that buried his hands in his pockets, staring straight ahead without moving on the lower floor of the deck above him.

Katharina:

Jez 'listen' to time Hans!

you have given up!

I have not 'given up and I'll give up and not'.

No response.

no response.

Hans Catherine looks at not, he stares at a spot on the deck above him.

Katharina:

Your .. your mourning face. I can see no more! Jetz'komm `- steh'auf.

She grabs his elbow. Hans immediately turns away from her, lies down on the side, arms folded.

Catherine Hans, we must do something!

Hans quiet, monotone: solln What we do not tell me to do this sometimes.

Catherine Hans shakes his arm.
Hans will not contact his attention glued next to nothing.

When she hindreht to, he has no sight more .. His eyes - two black holes with no light ..

Katharina very angry:

I have married you because I have admired you.

Because I was thinking 'that we manage life together.
manage better.

it shakes again and again by the arm.

Hans lowering his eyelids, hidden from the outside world, holding his hands tightly closed, dense and rigid in his body and lets the impulse of Catherine chdringen not to be major .

He seems to be a tough no-movement from the neck to indicate a let me .

He turns back on its side, away from Catherine. Now he is
his gaze to a spot on the Wall, can not let go.
He hears nothing. Catherine's rantings over him.

Catherine :

almost here I'm drowning in this crap. An 'a guy that lying around in bed ..

Get up now, Hans, now get up!

No response.

Hans present stand up, come ...

Catherine grabs her husband's arm and dragged him off the couch.

jez'hier Out, Come on ...!

It pulls and pulls, just before he falls, he catches himself and goes into the vertical.

Stop it! Stop with out pushing it.

now looks in the hall. All rigid the two.

Finally he stands.

(...)

you shoved him.

man Hans! Where issn 'Hans, I know, there's the not anymore or what.

Every time he meets Catherine, he responded tough. He acts like someone who wants to be totally left alone, but can not escape.

So, as if to shake off the shock as an inconvenience. At the same time be as if he were accustomed to beat, to, without permission on a defense motion. He can come to without back pressure, and seeks only be delayed again in balance.

Close up Hans.

He stares back into space, to a spot on the couch.

His face, frozen grief on the cheeks, in view, the tightly closed mouth. In vain we look for that face to one from any small body that could assure us that there will, hope, thinking, thinking is.

There is nothing more.

No person.

No ego.

Only a shell around a nothingness. Hans is not here anymore.
The person John is zusammengeschnurrt, drawn together, melted and retreated to a place inaccessible from the outside.

Catherine noticed with great alarm.

you do not understand what happened, but the disappearance of a tangible I chase her anxiety, panic, they tried it again herbeizuzerren from there, where he is about to disappear ..

She cries and beats him.

That can be non!

anger and despair.

Because of you I can go back to nothing around my child!

beats her husband now that he is to blame for this nightmare here.

yes you need an explanation for everything, for her despair.
Nevertheless errors.

cardinal error.

He takes out the beats ..

His face is something that really should never show any one face of a man as long as the word of humanity still important.

between the eyes on the end now see the signs of pain, .. now ... ... one of the full measure of experience inhumane Mißhandeltwerdens old with acute mixed and experience ................

kills the man.

He falls.

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<-<- zurück zu Teil 2

2005-2006 Heino Ferch - Hans Kuhlke, Inka Friedrich - Catherine Kuhlke.

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Our meager words give only a vague, sketchy impression of the excellent display performance in this scene. The best way to see the scene even more time. - How
unconsciously increasing, said incompetent suffering the consciousness of the man more and more limits to his will, he collapses, is just breathtaking in my opinion by Heino Ferch, shown impressive. Fantastic and the rapid divergence of Catherine's escalating anger and helpless Hans' counter-movement in the implosion.