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Richard John Ascárate Sven-Ole Andersen: Goethes Faust in Hollywood. Motive der Tragödie und des Themas in ausgewählten Filmen 2013 https://doi.org/10.17192/ep2013.4.1351

Veröffentlichungsversion / published version Rezension / review

Empfohlene Zitierung / Suggested Citation: Ascárate, Richard John: Sven-Ole Andersen: Goethes Faust in Hollywood. Motive der Tragödie und des Themas in ausgewählten Filmen. In: MEDIENwissenschaft: Rezensionen | Reviews, Jg. 30 (2013), Nr. 4. DOI: https://doi.org/10.17192/ep2013.4.1351.

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Sven-Ole Andersen: Goethes Faust in Hollywood. Motive der Tragödie und des Themas in ausgewählten Filmen Frankfurt a. M.: Peter Lang 2013, 175 S., ISBN 978-3-631-62961-1, € 29,-

Sven-Ole Andersen admits in the Faust. What new observation, what new introduction to this new volume that perspective, remains to be discovered? with respect to the Faust theme, par- The prospective author, in taking up ticularly Goethe’s version, there „ist the classic yet again, may experience bereits eine fast unübersehbare Anzahl some trepidation in recalling the ques- von Schriften, Essays, Büchern und tion put forth by the Director (Part 1; anderen Texten erschienen” (S.9). So Der Tragödie erster Teil): „Wie machen vast has the secondary literature con- wir’s, daß alles frisch und neu / Und mit cerning Goethe’s drama grown that it Bedeutung auch gefällig sei?” fills not only bookshelves but entire Nevertheless, Andersen does seem libraries, encompasses not merely dis- to have found a new angle. Observ- sertations but entire academic careers. ing that nearly all Faust studies reside Scholars young and old may rightly within the field of literary criticism, he wonder what there is left to say about turns to Hollywood portrayals of char- Fotografie und Film 459 acters and themes from Goethe’s play to persuade him indirectly through the to provide fresh insights into the early women – good and bad – in his life. nineteenth century classic, its less-read Petunia (Ethel Waters), Little Joe’s sequel, and their twentieth century long-suffering but pious wife, serves as cinematic descendants. Andersen cov- counterpart to Gretchen in Faust. Cabin ers an assortment of films, including in the Sky also adds a racial dimension Cabin in the Sky (Vincente Minelli, not present in Goethe’s original but 1943), Damn Yankees! (George Abbott, of utmost concern to a United States 1958), I was a Teenage Faust (Thom embarked upon the Second World War. Eberhardt, 2002), Ghost Rider (Mark The film features an exclusively African Steven Johnston, 2007), Wall Street American cast, unusual for its time (and (Oliver Stone, 1987), Indecent Pro- not particularly common even today). posal (Adrian Lyne, 1993), The Devil’s Andersen argues thereby that „[v]or Advocate (Taylor Hackford, 1997), and allem das Gefühl der Zugehörigkeit zu Boiler Room (Ben Yonger, 2000). The Amerika sollte die farbige Bevölkerung chronological range and plot diversity aufgeschlossener gegenüber der Kriegs- of this list suggest the elasticity of the mobilisierung machen” (S.99-100). Faust theme: a man, dissatisfied with Though in Goethe’s drama Mephis- life and finding no relief from contem- topheles has more (or, at least, more porary religion, science, and philoso- memorable) lines than Faust himself, phy, enters into a pact with the Devil. the Prince of Darkness sometimes As Andersen argues, Goethe and the doesn’t even appear in filmic adapta- directors of these films engage with tions of the story. Thus, in Wall Street, a shared collection of perennial con- the devil is not some dark wit with two cerns, such as human interaction and ravens and a Pferdefuß but the power- coexistence, culture, and the quest for ful if less-than-supernatural corporate individuality and self-creation (auto- raider Gordon Gekko (Michael Doug- poiesis). He demonstrates how these las). The film depicts the story of Bud find expression in Hollywood cinema, Fox (Charlie Sheen), an impatient junior as well as how the exigencies of Ameri- stockbroker in a small firm, who attracts can history, society, and culture have Gekko’s attention through a bit of insider transformed characters and situations information. Gekko takes Fox under his from those found in the original Ger- wing, with the understanding that the man version. fledgling will employ any means neces- In Cabin in the Sky, for example, the sary – ethical, legal, or otherwise – to protagonist, Little Joe (Eddie “Roch- make profitable trades. As Andersen ester” Anderson), on the brink of death cleverly contends, „[d]ie bedingungslose after having been shot for gambling Einwilligung des Protagonisten zu einer debts, is given six months to redeem Zusammenarbeit mit Gekko markiert himself or he will be consigned to the den symbolischen Verkauf der Seele des eternal flames of Hell. During this Individuums an die absolute Macht des time, both God and Lucifer attempt Bösen, denn damit willigt er ein, auf 460 MEDIENwissenschaft 4/2013 eigene Beurteilungen der Aufträge zu breadth of background reading – sine verzichten, die ihm aufgegeben werden” qua non for a thesis defense – but offers (S.114). little new to the Goethe scholar, who In The Devil’s Advocate, John Milton presumably knows most of what Ander- (Al Pacino), head of a phenomenally sen lays out, nor to the film scholar, successful New York law firm, summons who likely will not be interested in the young, ambitious, small town Florida Historia von D. Johann Fausten (1587) defense attorney Kevin Lomax (Keanu or Martin Luther’s Tischreden (1566). Reaves) to assist in jury selection for a (Indeed, given Luther’s opinion of case. After a favorable outcome, Mil- Rome, one can only imagine what he ton offers Lomax a position in the firm, would have said about Hollywood.) along with a fabulous salary and New Further, Andersen’s prose exhibits the York apartment. Success amasses for harried graduate student’s tendency to Lomax, as does tragedy for him and his repetition when describing plots and wife (Charlize Theron), as both slowly presenting findings. Despite this, the realize that Milton is Satan himself. author has extended the field of Goethe They commit suicide, but come to life studies ever so much and, as the afore- again through the director’s use of a mentioned Director claims, “Wer vieles framing device. ����������������������In essence, Lomax ima- bringt, wird manchem etwas bringen.” gined the story depicted onscreen, which The author has indeed given film schol- Andersen sees as a missed opportunity ars and Germanisten alike new material to critique the American judicial system: with which to continue erecting the „Die wirklich gravierende Aussage des edifice of Goethe studies. Films, dass nämlich das amerikanische Richard John Ascárate Rechtssystem durch überambitionierte (Washington DC) Rechtsanwälte, die ihren Erfolg über den Dienst an Recht und Gesetz stellen, zutiefst korrumpiert ist, wird zurück- genommen und relativiert, indem die Geschichte der Korruption und der Teufelsverfallenheit nur als die Fantasie eines jungen Rechtsanwalts dargestellt wird” (S.122). Goethes Faust in Hollywood is Ander- sen’s reworking of his dissertation. Alas, the volume yet retains the shortcomings of such an academic exercise. The author devotes almost the entire first half of his slender volume to a literary-histor- ical review of Heinrich Faust’s geneal- ogy. The material displays an admirable