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Lucille Fletchers Sorry, Wrong Number (1943)

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Lucille Fletchers Sorry, Wrong Number (1943) V. TELEFONTHRILL „An experiment in radio sound effects“: Lucille Fletchers Sorry, Wrong Number (1943) Setzt Almodóvar die Abhängigkeit einer Frau vom Fetischobjekt Telefon in der Tradition des Vaudeville als ein hypertrophes, ins Komische gewendete Spiel in Szene, bei dem sich die Protagonistin schließlich aus ihrer Unmün- digkeit befreien kann, so ist diese Abhängigkeit in einer anderen Tradition immer wieder auch Ausgangspunkt einer besonderen Form des Telefonthrills. Anatole Litvaks Film Sorry, Wrong Number (1948), dessen Analyse sich die- ses Kapitel widmen soll, ist sicher das wohl bekannteste Beispiel dieser Trad- tion. Bei Litvaks Filmdrama handelt es sich um die filmische Adaptation des gleichnamigen Hörspiels von Lucille Fletcher, auf das als wichtige Referenz für die Filmanalyse in Kürze eingegangen wird, da es zusammen mit André de Lordes und Charles Foleÿs Theaterstück Au Téléphone gleichsam modellhaft für spätere Telefonthriller war. Darüber hinaus soll es als radiophones Stück beispielhaft für einen primär auditiv erzeugten Thrill analysiert werden, der im Adaptationsprozess deutlich für ein hybrid auditiv-visuelles Medium den Film, transformiert wurde. Viele der Telefontheaterstücke, zum Beispiel einige von Sacha Guitry oder auch Pirandellos Dialoghi mancati, wurden auch als Hörspiele adaptiert.475 Es ist zu vermuten, dass diese aufgrund der Implementierung telefonischer Kommunikation primär auf den Gehörsinn ausgerichteten Stücke sich beson- ders gut für ein Medium eigneten, das rein auditiv wahrgenommen wird, so wie ja bereits die Affinität der via Fernmedium übertragenen menschlichen Stimme zum Theater deutlich geworden ist. Voigts-Virchow schreibt: „The acoustic, oral medium telephone has an obvious affinity to the theater as a place for staging voice and sound, and an even more obvious to radio play.“476 Lucille Fletchers Hörspiel, das hier exemplarisch für weitere radiophone Stü- cke wie Henry La Barthes „monologue radiophonique“ Réveillon (1933) ana- lysiert werden soll, spielt deutlich mit dem Telefon als akustischem Medium, wie zu zeigen sein wird. 475 Auch andere Theaterstücke oder monologartige Novellen, die dem Telefon eine zentrale Rol- le zuweisen, wurden als Hörspiele adaptiert, wie Jean Cocteaus La voix humaine oder auch Claudio Magris' Novelle Le voci. Diese eingehender zu analysieren, wäre Aufgabe einer ei- genständigen Untersuchung. In dieser komparatistisch angelegten Studie sollen nur exempla- risch einige frühe radiophone Telefonstücke und Lucille Fletchers wohl bekanntestes radio- phones Stück, Sorry, wrong number, in den Blick gerückt werden. 476 Voigts-Virchow, S. 136. 164 TELEFONTHRILL Das Hörspiel wurde zum ersten Mal unter der Regie von William Spier am 25. Mai 1943 als Einpersonenstück mit Agnes Moorehead als Mrs. Stevenson live gesendet. Das 23-minütige Stück, das in der erfolgreichen Reihe „Suspen- se“ im Radio ausgestrahlt wurde, war eines der erfolgreichsten in der ameri- kanischen Radiogeschichte. Was das Setting und die Ausgangssituation be- trifft, wurden in der späteren filmischen Adaptation von Litvak, zu der Fletcher das Drehbuch verfasste, kaum Veränderungen vorgenommen, doch Litvak konzentriert sich in seinem Film stärker auf die Vorgeschichte des Dramas.477 Wesentlich ist vor allem, wie in dem radiophonen Stück Suspense evoziert wird. Das Hörspiel wurde für das Radio geschrieben und spielt be- wusst mit dessen Mitteln. Es sei ein „experiment in radio sound effects“, so Fletcher, die erklärend hinzufügt: „I grew up in an era when the radio was a wonderful medium for the imagination. You could get any effect you wanted with sounds.“478 Das gesamte Drama spielt sich demzufolge unter der Regie des akustischen Kanals primär in der Imagination des Zuhörers ab. Die Mise en scène des virtuellen Einpersonenstücks zielt auf Identifikation mit der Protagonistin, Mrs. Stevenson, wobei das kollektive Imaginäre eine zentrale Rolle spielt. Der Schauplatz des Stücks ist auf das Schlafzimmer der Protagonistin beschränkt, die aufgrund einer Krankheit ihr Zimmer nicht ver- lassen kann. Ihre einzige Verbindung zur Außenwelt ist der Telefonapparat neben ihrem Bett. Das Hörstück spielt gleich zu Beginn mit dem akustischen Kanal: Mrs. Stevenson wird infolge einer falschen Verbindung zufällig Zeugin eines Mordkomplotts. Entsetzt hört sie zwei andere Männer in der Leitung sprechen und belauscht derart, wie ein Sprecher dem anderen rät, den Mord um 23.15 auszuüben, da zu dieser Zeit ein Zug über die Brücke fahre und so der Schrei des Mordopfers, so es zum Fenster fliehe, nicht gehört werden kön- ne. In dem sich anschließenden Gespräch mit der Telefonvermittlung, in dem die Kranke bittet, ihr die Nummer des soeben belauschten Anschlusses mitzu- teilen, erklärt sie: „I could hear them but they couldn’t hear me.“479 Mit diesen Worten rekurriert sie auf die dem Gehörsinn inhärente Paradoxie des Gehört- bzw. Nicht-gehört-Werdens – eine prekäre Angelegenheit, da das Ohr, anders als das Auge, nicht in der Lage ist, sich zu schließen und zu selektieren, d. h. zu entscheiden, etwas nicht zu hören. Um eben diese Besonderheit des Gehör- sinns kreist das radiophone Stück. Als die Protagonistin im Verlauf des letzten Telefonats erfährt, dass jemand in ihrem Haus ist, der am zweiten Telefonan- schluss den Hörer abgenommen hat, beschließt sie „I won’t let them hear me – 477 Ich werde mich im Folgenden auf die für die Westküste gesendete Originalfassung von 1943 konzentrieren. Das Hörspiel kann wie spätere Fassungen im Internet als MP3-Datei herunter- geladen werden (URL: http://www.escape-suspense.com/2008/11/suspense---sorry-wrong- number.html, zuletzt abgerufen am 01.09.2014). 478 Lucille Fletcher zitiert nach: Lawrence van Gelder, „Lucille Fletcher, 88, Author Of ,Sorry, Wrong Number‘“, in: The New York Times, 6. September 2000. 479 Lucille Fletcher, Sorry, Wrong Number, 00:05:49. .
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