Volker Schlondorff's Cinema: Adaptation, Politics, and the "Movie-Appropriate"

By Hans-Bernhard Moeller; George Lellis | Go to book overview
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Notes

6. “Amphibious” Movies and Formal Experiments
1
Note the credits in Volker Schlöndorff and Günter Grass, Die Blechtrommel als Film (1979; Frankfurt/M.: Verlag, 2001) N. pag. (penultimate page), “sowie dem Hessischen Rundfunk, and, for Circle of Deceit, respectively, HansMichael Bock, ed., CineGraph (Munich: edition text + kritik, 1984 ff), “Volker Schlöndorff, Lg. 2, F 11, although the actual prints fail to list these contributions. For Gathering of Old Men, CineGraph, Lg. 23, F 14.
2
On the other hand, we should not fail to recognize that von Trotta drew significant impulses from Schlöndorff and other male New German Cinema filmmakers, not to mention a gain in experience from Schlöndorff and profit from his film production company, Bioskop, on which she could rely. In many ways, von Trotta's The Second Awakening of Christa Klages is a reworking of themes, ideas, and motifs found earlier in The Lost Honor of Katharina Blum, not surprising in that both employed elements of the Margit Czenki case. Bonds also clearly exist between Marianne and Juliane and Schlöndorff's “Antigone” episode from Germany in Autumn. Both deal with clashes between the state and female characters. In each case, one sister is rebellious, the other—JulianeIsmene—nonrevolutionary. Besides such affinities in content and motifs, parallels in cinematic style are clear as well. From another male filmmaker, Fassbinder, von Trotta took on the Rosa Luxemburg project after his death.

13. Coup de Grâce
1
The script of Coup de Grâce is printed in French in L'avant-scène du cinéma 181 (Feb. 1, 1977), 3–22, 43–59; excerpted in German in Rainer Lewandowski, Die Filme von Volker Schlöndorff (Hildesheim: Olms, 1981), 229–35. From the unprinted script, it is apparent that Margarethe von Trotta and Jutta Brückner were responsible for the scenario and Geneviève Dormann only for the French edition.

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