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Verlorene Söhne Töchter Väter Klix.Pdf Über Paul Schrader »Kann ich gar nichts behalten? Was ist von mir noch üb- rig?« So könnten viele Figuren in Paul Schraders Filmen fra- gen. Das tun sie nicht. Sie fragen stattdessen »Was bin ich wert?« Oder sagen: »Einige meiner Illusionen wurden zer- stört« – wenn ihr bisheriges Leben in Trümmern liegt. Paul Schrader zwingt seinen Figuren existenzielle Entscheidungen in Form drastischer Bedrohungen auf. Er setzt sie gefangen, um zu zeigen, dass sie vorher nicht frei waren oder schickt sie auf die Suche – nach sich selbst. Bettina Klix beschreibt, wie Schrader seine Figuren preisgibt – und rettet. Bettina Klix, geboren 1961 in Berlin, studierte Germanis- tik und Sozialpädagogik. Sie veröffentlichte »Tiefenrausch« (1986); »Sehen, Sprechen, Gehen« (1993); »Willkommen im Wunderland« (mit Christine Kriegerowski, 2008). 2011 er- scheint eine Prosaauswahl in englischer Übersetzung unter dem Titel »Rapture of the Depths«. Bettina Klix Verlorene Söhne, Töchter, Väter Über Paul Schrader Verbrecher Verlag Filit 6 Herausgegeben von Rolf Aurich und Wolfgang Jacobsen Erste Auflage Verbrecher Verlag Berlin 2010 www.verbrecherei.de © 2010 für diese Ausgabe: Verbrecher Verlag Satz: Saskia Uhlig Umschlaggestaltung: Sarah Lamparter, Büro Otto Sauhaus Umschlagmotiv: George C. Scott in »Hardcore« (Deutsche Kine- mathek – Museum für Film und Fernsehen) ISBN: 978-3-940426-57- 4 Printed in Germany INHALT Vorwort ..................................... 7 Hardcore (1978) ............................. 11 American Gigolo (1980) ....................... 39 Cat People (1981) ............................ 65 Patty Hearst (1988) .......................... 75 Light Sleeper (1992) .......................... 83 Touch (1997) ............................... 101 The Walker (2007) .......................... 119 6 »There is an inner gravity more forcible than the outer one and much of our effort is expended in resisting the impulse to sink.« Eric Miller, The Reservoir Kann ich gar nichts behalten? Was ist von mir noch üb- rig? So könnten viele Figuren in Paul Schraders Filmen fragen. Das tun sie aber nicht. Sie fragen »Was bin ich wert?«, wenn sie vergeblich hoffen, sich freikaufen zu können. Oder sie sagen: »Ei- nige meiner Illusionen wurden zerstört«, wenn ihr bis- heriges Leben in Trümmern daliegt. Ihnen werden existenzielle Entscheidungen in Form drastischer Bedrohungen aufgezwungen. Einer muss zum Mörder werden, wie John LeTour in »Light Sleeper«. Manche sehen ihre bisherige Exis- tenz vernichtet, ihren Ruf ruiniert und finden sich des Mordes angeklagt, wie Julian Kay in »American Gigolo« oder Carter Page III in »The Walker«. Eine Figur muss gar ihren menschlichen Körper aufgeben: Irina Gallier in »Cat People«. Das bisherige Leben der Figuren war, bevor der Film sie in die Hände bekommt, ganz erfreulich, oft sogar 7 erfolgreich, sie genossen eine gewisse Unabhängig- keit, waren gut vernetzt, doch enthüllt sich bald, dass sie etwas Entscheidendes übersehen oder den Falschen vertraut haben. Während ihnen ein Privileg nach dem anderen genommen wird, oder eine Sicherheit nach der anderen, müssen die Figuren ihre Werte neu definieren. Sie werden auf das reduziert, was sie sind, wobei sie oft noch gar nicht wissen, wer oder was das ist, und erfah- ren dabei bis zur letzten Konsequenz den Verlust ihrer bisherigen Identität. Aber genauso sicher hängt davon auch die Hilfe, die Lösung, die Erlösung ab, dass sie den Weg zu Ende gehen oder sich ihrem Schicksal ergeben. Dann erhalten sie ein neues Leben, eine neue Liebe, ei- nen neuen Körper. Schraders Filme zeigen uns verschiedene Formen von Gefangenschaften, solche außerhalb von Gefäng- nismauern, in sozialen Gefängnissen, in Abhängigkeiten, von öffentlicher Meinung in Schach gehalten. Sie zeigen ein Entführungsopfer, das durch die Freiheitsberaubung und Gehirnwäsche von sich selbst getrennt wird. Aber sie führen auch vor, wie jemand im eigenen (menschlichen) Körper gefangen ist. Dass Menschen in ihren Körpern eingesperrt sind, das scheint für Schrader die Voraussetzung, von der er ausgeht. Ganz in der platonischen Tradition, die der Calvinismus (Schraders konfessioneller Hintergrund) nicht unterbrochen hat. Seine Filme behandeln jedoch besondere Ausnahmen. 8 Viele der Filme haben kurze Episoden, meist gegen Ende, die in einem Gefängnis spielen, und immer ver- sprechen diese Räume ein Aufatmen, eine neue Freiheit. Oft finden viele vorherige Suchbewegungen im Film an diesem Ort ein Ende. In Schraders Filmen gibt es viele Formen des (Sich-) Suchens und Findens. Manche Suche ist geradezu selbst- zerstörerisch und die Suchenden können von Glück sa- gen, dass äußere Hindernisse den Weg versperren. Oft haben wir es mit Figuren zu tun, die in der Freiheit ihre Suche begannen, aber nicht beenden konnten, keine Entscheidung treffen konnten. Manchmal wussten sie nicht, dass sie nach sich selbst suchten. Wenn ein Paar nicht zueinander finden konnte, und einer der beiden gefangen gesetzt wurde, beginnt auch der Suchende, der sich noch in Freiheit befindet, wieder klar zu sehen. Im Epilog seiner Filme bringt Schrader oft zwei Fi- guren zusammen, die durch eine Geste der Erlösung verbunden sind: In »American Gigolo« Julian Kay und Michelle Stratton, in »Light Sleeper« John LeTour und Ann, in »Cat People« Irena Gallier und Oliver Yates. Es wird beschrieben, wie Schrader seine Figuren preisgibt – und rettet. 9.
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