End of Year

This being the first full year of my blog, I shall give a brief round-up of things that made it enjoyable:

1. Berlin!!!: three visits were not enough but highlights included Ladyfest, the Berlinale, and shooting two films

2. Halloween with Kleenex/Liliput in Zurich: it was delightful to meet three of this pioneering band on their home turf

3. The Gossip at the Barfly: a small gig for this red-hot band

4. Young Marble Giants--Colossal Youth and Collected Works: a timely reissue for these post-punks underlines their brilliance

5. films at festivals: Caramel, Vivere, Brand Upon the Brain and the short Le Lit Froisse were standouts

6. first listens: Las Furias, Kaputt, and Grace and Volupte Van Van are ones to watch in 2008

7. catching up with: Girl Monster and Malaria!'s back catalogue were brilliant late discoveries

8. Tate Modern: Maya Deren's films, the slides, and Doris Salcido's crack made this a great visit for all ages

9. West Ham and Leyton Orient both staying up: hurrah for East London football!

10. also seen/heard: New Young Pony Club, Bat for Lashes, Duke Spirit, Ida Maria, Electrelane (RIP), Milenasong, CSS, Normal Love, The Lives of Others

Enchanted

dir Kevin Lima

Not my usual fare but if one is feeling a bit jaded and out of sorts, why not enter the magical world of Disney, in which animals dance, heroines twirl and sing and a happy ending is de rigueur?

Indeed, Enchanted is the latest entry in the "ironification" of Disney, as the company has become aware of how out of step its values are in the modern, cynical world.

Thus, while would-be princess Giselle starts off in cartoon mode, regaling her animal friends with her search for "true love's kiss" from a handsome prince, about 15 minutes in, poor Giselle (Amy Adams, strangely reminiscent of a young Nicole Kidman) is stumbling around New York in her wedding dress, meeting unfriendly humans.

It's a clever hook, but, sadly, the film doesn't make the most of it. Despite knowing nods to Cinderella, Snow White, and other Disney classics, the jokes aren't quite sharp enough for an adult audience and the message seems quite traditionally Disney: true love comes to those who wait.

As our heroine lurches from one misunderstanding to another, with her prince (James Marsden) and chipmunk pal Pip in pursuit, it's only a matter of time before the happy ending arrives. The only question is which prince she chooses: the cartoon version or the single dad earthling (Patrick Dempsey) who befriends her.

For a brief moment when she and Dempsey are cavorting around Central Park and discovering the "King's and Queen's Ball", I thought there might be a foray into drag. Now that would have been an interesting culture clash. But no. A pity.

The funniest scene finds Giselle ensconced in Dempsey's apartment, intent on cleaning up the mess in her usual manner--getting the animals to do it. But, rather than cute woodland creatures, her call attracts more typical New York inhabitants--rats, cockroaches and pigeons---to tidy up as she sings merrily about getting work done.

The always watchable Susan Sarandon, playing the evil steopmother (and how come that stereotype is not challenged?), is restricted to one scene in the flesh, a rather flat climax which owes more to King Kong than Bambi.

The State I Am In

dir Christian Petzold

Showing as part of Baader's Angels, this German film from 2000 centres on disaffected teen Jeanne and her struggles with her parents. But Jeanne has a particularly hard time of it as her parents are on the run from the law and she never settles anywhere or forms relationships.

During a stay in Portugal, she meets Heinrich, a surfer, and falls for him. As her parents drag her away, she becomes increasingly disenchanted with their nomadic lifestyle and makes a series of decisions that lead to disaster.

While I enjoyed the film, I left the cinema bemused by the ending and feeling curiously detached. I realised that what was missing for me was context: why are the parents on the run? What have they done? How do they feel about it?

Although the story is told from Jeanne's point of view, surely she would have some knowledge of what happened to put her family in its precarious position. There is a scene in which she confronts her parents: "after 15 years you want to take it back!" And they are chastened by the knowledge that their actions have caused heartache for their daughter. But that is as much insight as the audience ever gets into their world. To paraphrase Marianne Faithfull: "what are they fighting for?"

The ending is also problematic as the family is confronted by some form of authority and forced off the road. Do they die? Are they arrested? Who knows? Writer/director Petzold is clearly not interested in tying things up neatly but leaves it hanging. Sometimes this is effective but I was left feeling he wasn't sure how to end the film.

Baader's Angels Preview

ICA, London
6-10 December

Coming up at the ICA in London is the intriguingly (if irreverently) titled film series, Baader's Angels, looking at the role of women in the German terrorist group Red Army Faction (aka Baader-Meinhof Gang). The series covers some 30 years of work made by German directors such as Schlöndorff, von Trotta, Fassbinder and Kluge.

Coming 30 years after the notorious Deutscher Herbst and in the current political climate in which terrorism is an omnipresent buzzword, the programme is a timely arrival. I emailed curator Pamela Jahn for some comment on it. Our exchange follows.

Kunstblog: I wanted to know why you picked this topic and what the themes were that linked the films.

Pamela Jahn: Marking 30 years since the deaths of Andreas Baader, Gudrun Ensslin and Jan-Carl Raspe in Stammheim Prison in October 1977, I wanted to look back at the history of the RAF, the German Autumn and the events of that time, but not simply as a historical retrospective of what happened back then. I was interested in finding a different angle or perspective and, at the same time, I wanted to look at more recent attempts of filmmakers dealing with this topic - especially after the reunification of Germany.

On the one hand, it is striking to see the number of women who were part of the RAF, not just the leaders Ulrike Meinhof and Gudrun Ensslin, but many other young women. On the other hand, while researching the films, it was striking to see the great number of films which concentrate on female protagonists and the role women have played in the revolutionary struggle -- direct and indirect, politically and personally.

Given the striking number of female members of the RAF, this season revolves around questions of the roots and potential paths of women’s resistance and revolt as explored in many of the films about the RAF and German terrorism. Though some of the films are made in the 70s and responding to the paranoid political climate in West Germany 30 years ago they still feel timelier than many films made today, especially in regard to the world's current political situations.

KB: It seems to me the films look at individual stories, mostly fictional, but do not address the question of what drew women into terrorism.

PJ: By choosing these films, I am trying to create a space between both fiction and reality, that encourages people to think and to get their own idea about the whys and wherefores. Although all five films of the season have west German terrorism in common as a central theme, they do not all adopt the same position but offer a honest portrayal of the West German crisis in the 1970s and 1980s, or use their engagement with the past to suggest subtly different analyses of personal and state histories, and the role women have played in the revolutionary struggle, both politically and personally.

An idea of the atmosphere of fear, hysteria and public denunciation which was whipped up at the time, and of the role that the conservative, self-censoring media (yellow press) played in this, can be re-experienced through The Lost Honour of Katharina Blum. The film is directed by both Volker Schlöndorff and Margarethe von Trotta who give the film a documentary feel though the story itself is fictional (the film is an adaptation of the novel of the same name by Heinrich Böll).

What is also interesting is the comparison between this earlier film by Schlöndorff and The Legends of Rita, made in 2000. In Katharina Blum you see a woman who came into contact with a terrorist but is not actually one herself. In The Legends of Rita, Rita is actually a terrorist. She is seduced into the terrorist movement through her sense of justice and she’s been involved in violent action. You would almost think that Rita is a kind of composite of various female members of the RAF. There are elements in her character that come from the real life of female members of the RAF. For example, in Rita’s story there are echoes of the life of Inge Viett, a member of the RAF who took refuge in East Germany to escape prosecution in the West and whose life is documented in detail in the documentary Greater Freedom - Lesser Freedom.

Christian Petzold’s film The State I Am In is less about history than about public memory in Germany today, which shows no sign of having resolved the social contradictions that led to terrorist violence in the 1970s. The film centers on the life of Jeanne, a teenage girl who is leading an underground existence with her former terrorist parents. For Jeanne ideological struggle has become a kind of banal reality, something that is obstructing her need to engage with the social reality around her. What remains in this film, which has won wide acclaim as one of the most powerful and controversial German films in the years since reunification, is the complex question of the personal and the political: the original German title Die Innere Sicherheit demonstrates the independence of the political (state security) and the psychological (the inner security, stable identity).

Baader's Angels runs 6-10 December at the ICA, London. The films are: Germany in Autumn (DEUTSCHLAND IM HERBST); The Lost Honour of Katharina Blum (DIE VERLORENE EHRE DER KATHARINA BLUM); The State I Am In (DIE INNERE SICHERHEIT); The Legends of Rita (DIE STILLE NACH DEM SCHUSS); Greater Freedom - Lesser Freedom
(GROSSE FREIHEIT - KLEINE FREIHEIT). For further details please see www.ica.org.uk.