Dillinger - Gen Op Til Duellen, Hvor Crampas Falder Nes Dæmoner Huserer

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Dillinger - Gen Op Til Duellen, Hvor Crampas Falder Nes Dæmoner Huserer Endnu klarere er modstillingen truk­ afsnit et præg af erindringens »overbe­ samfundets »opdragere« og »læreme­ ket op i karakteristikken af de to mands­ lyste« fjernhed. stre« tugter deres kvinder til at vende figurer, Instetten og Crampas, ægteman­ På samme måde opbygger Fassbinder den anden kind til. »Men kære Effi, vi den og elskeren, ordensmennesket og det enkelte billede over et raffineret må være forsigtige - især vi kvinder,« lovbryderen (»Alt det bedste ligger hin­ skema af sort-hvide kontraster. Hvad det som moderen siger - i en direkte paral­ sides lovene«, som det hedder i et af først og fremmest er ham magtpåliggen­ lel til Sidonies formaninger af Petra von de kompromitterende breve fra majoren de at vise, er Effis fremmedgørelse i Kant (en drilsk pointe for Fassbinder- til Effi). En opdragelse, baseret på hæ­ forhold til det miljø, hun optages i. Alle­ aficionados, at navnet på denne kyniske dersbegreber og skræmmebilleder - rede under planlæggelsen af giftermålet pragmatiker er taget fra Fontane, hvor over for en aldrig realiseret, »romantisk« - scenen, hvor Effi ønsker at komplet­ Sidonie von Grasenabb hører til Effis frihedsdrøm. Også Crampas bliver (i tere sit udstyr med »et japansk skærm­ skarpeste kritikere). Fassbinder har dog Ulli Lommels sensitive fremstilling) en bræt i sort med gyldne fugle«, og mode­ selv taget afstand fra, at dette aspekt af Fassbinders trætte tabere, en veg ren ser ud, som om hun »etwas beson- skal ses som filmens centrale. For ham poet, der sætter Effi på rette spor i ders Unpassendes gesagt hatte« - benyt­ drejer det sig - i dyb overensstemmelse forhold til ægtemandens »Angstapparat ter Fassbinder det typisk ophiilske vir­ med Fontane - om at skildre et menne­ aus Kalkiil«, men ikke selv er i stand til kemiddel at gå over i et spejlbillede af ske, der går til grunde på at kende sit at redde hende derfra - »den armen personerne. Og sidenhen er det stadig hjertes længsler og ikke have mod til at Kerl, den ich nicht einmal liebte,« som gennem spejloptagelser, hvide florsgar­ undsige systemets tvang - en konflikt, Effi siden kalder ham. Og over for ham diner eller sorte net, han markerer af­ der har trukket sine politiske og psyko­ Wolfgang Schenks frygtindgydende til­ standen mellem Effi og omgivelserne, i logiske perspektiver gennem hans hidti­ knappede Instetten: et pligtmenneske, særdeleshed hendes ægtemand. Mest dige oeuvre. Selv betragter han (ifølge der bruger spøgelser, indre såvel som markant i slørene for hendes ansigt, det det ovenanførte interview med Braad ydre, for at skræmme sin unge hustru på sorte sjal over hendes hvide kjole, der Thomsen) »Effi Briest« som et »slut­ plads i ravnekrogen Kessins bigotte mi­ umærkeligt »formaliserer« figuren, samt punkt« - som sådan udgør filmen tillige ni-verden. »Man må have orden på sig forhængene omkring sengen, der - ud (i mine øjne) en fuldendt sublimering af selv, så man ikke behøver at frygte,« over at afskærme hende fra Instetten - hans hidtidige bestræbelser. som han formaner hende, efter at hun associerer til spøgelsesgardinerne oven­ Henrik Lundgren har optrådt i skuespillet »Ein Schritt på. Det er selve denne billedstil, der af­ (Credits i næste nummer). vom Wege« med Crampas som instruk­ føder filmens grundfornemmelse af en tør. Mesterligt viser Fassbinder kontra­ borgerlig verdens perfekte overflade, sten mellem de to mænd i krydsklipnin­ hvorunder angstens og fortrængninger­ Dillinger - gen op til duellen, hvor Crampas falder nes dæmoner huserer. Hos Fassbinder gangsternes som viljeløst offer for Instettens ubøn­ behøver sangerinden Marietta Trippelli hørlige æres-moral, der ikke tillader blot ikke (som i romanen) at synge Loewes gangster »en halv medvider« til skammen. »Vor schauder-ballade »Herr Oluf« - Spohrs æreskult er afgudsdyrkelse,« som gehej- biedemeier-idylliske »Wiegenlied« får I et interview i »Filmmakers Newsletter« meråd Wullersdorf bemærker efter sit præcis den samme spøgelsesagtige (November 1973) fortæller John Milius forsøg på at tale Instetten fra duellen - virkning i kraft af den visuelle indram­ at han i »Dillinger« absolut ikke har for­ hvor frygten for guderne hører op, træ­ ning. søgt at svælge i vold og død og blod der blod-offeret til. For Fassbinder bliver Effi således et og hjernemasse. De veltrænede stunt­ Mest markant ligger modstillingen af menneske, der til stadighed er underlagt men kommer ganske vist og foreslår: tvang og frihed dog i selve billedernes omgivelsernes tvang - og som i sit eget »Hvorfor stiller du ikke kameraet her, og kalligrafi. Ikke at man direkte kan »over­ sind har anlæggene for at lade sig til­ når så maskingeværet skyder løs, så sætte« de sort-hvide kontraster, selv om fredsstille af denne tvang. »Herren må kan jeg dreje rundt den vej og sprøjte filmens første halvdel gør det fristende: ikke vide, jeg er bange,« siger hun ry­ blod henover linsen«. Men Milius præci­ Med en virkelig henførende effekt lader stende af angst, da Instetten første gang serer: »Det er netop hvad jeg IKKE Fassbinder den purunge Effi - »die har forladt hende: »Ich muss mich be- ønsker. Det er Peckinpah, og jeg kan Tochter der Luft« - fremtræde helt i zwingen«. Men allerede morgenen der­ overhovedet ikke lide den slags«. hvidt, et luftsyn, der i filmens slutning på »besinder« hun sig: »Du aner ikke, Sådan en udtalelse siger imidlertid (scenen, hvor Effi, atter i den hvide hvor ærgerrig jeg er,« som hun forsikrer mere om hvortil vi efterhånden er nået kjole, modtager pastoren ved gyngen) ægtemanden. I sådanne pendulsving med skildringen af vold på film, hvad vi antager et nærmest forklaret præg. fuldbyrder figuren sin tragedie (og skal som publikum har måttet vænne os til Modsætningen hertil er den serie af man forsøge at forklare, hvorfor Hanna hvis vi har villet følge med, end den strengt formelle visitter, hun aflægger Schygulla er så indlysende »rigtig« i rol­ siger om Milius’ film. For Milius’ film er som baronesse von Instetten, snøret i len, bliver det vel netop et spørgsmål så sandelig ikke blodfattig. Og inter­ sort fra top til tå. At der ikke er tale om om hendes usvigelig sikre balancegang viewet fortsætter da også med minuti­ en simpel symbolik, fremgår imidlertid mellem uskyld og ambition - dette, at øse redegørelser for hvordan Milius af de »udslukte« hvide statuer i Instet­ man hele tiden fornemmer oprøret og brugte en mængde små afskydelige tens hus og den stadig sortklædte Ros- accepten som ligestillede muligheder i blodpakninger (»Man er virkelig nødt til witha. Det er selve mønsteret i modsæt­ Effis univers). Fuldstændig rystende vir­ at bruge det. Folk vil simpelthen ikke ningerne, der danner betydningsstruktu­ ker på denne baggrund scenen, hvor godtage det mere hvis en fyr bare tager ren, som Fassbinder har bekræftet over Effi - efter at have modtaget sin datter, sig til kroppen og falder omkuld«). Og for Peter Buchka (Siiddeutsche Zeitung, afrettet som en papegøje af Instetten - med interviewerens geniale spørgsmål: 6. juli 1974) vedrørende filmens anven­ endelig kaster handsken til borgerska­ »Tror du at blodet mister sin virkning delse af udtoninger. Hvor det alminde­ bets smålige pligt-moral (»Mich ekelt, efter et stykke tid?« og Milius’ svar: »Ja. lige black-out markerer et tidsmæssigt was ich getan; aber was mich noch mehr Jeg kan ikke lide det. Man skai virkelig brud imellem to sekvenser, skal udto­ ekelt, das ist eure Tugend«). Et udbrud, få en fornemmelse af at folk såres vir­ ningen i hvidt give den samme fornem­ der atter negeres af den bitre ironi i kelig smertefuldt«. melse, som når man »vender bladet i en Effis »erkendelse« på dødslejet, at In­ Men måske virker volden så meget bog«, en diskret afbrydelse i fortælle­ stetten »i et og alt handlede rigtigt«. desto stærkere i »Dillinger« fordi filmen strømmen. Samtidig bidrager disse Det er muligt at se »Effi Briest« spe­ er så sammentrængt. For Milius (der »white-outs«, som især dominerer i be­ cielt som en kvindefilm på denne bag­ selv har skrevet manuskript) har villet gyndelsen, til at give disse indledende grund - en historie om, hvordan mands­ gøre rede for et ganske stort stof, og 66 har åbenbart på et ret sent tidspunkt tale om en »overwestern«. Og her er depressionslandskab er netop det vi været nødt til at skære voldsomt ned og netop Dillinger et oplagt emne. Som kender fra »Vredens Druer« og utallige trænge sammen for at få en film af nor­ adskillige andre gangstere fra tyverne westerns snarere end et realistisk land­ mal længde ud af materialet. Det er jo og de tidlige tredivere gjorde Dillinger skab (og hans ønske om at lave en over- nemlig ikke kun Dillinger filmen handler allerede selv hvad han kunne for at blive gangsterfilm der visuelt kan minde om om, eller Dillinger og den midtvestlige en mytisk skikkelse i levende live: Fil­ en overwestern forklarer naturligvis val­ FBI-chef Melvin Purvis’ jagt på ham. Det men har det morsomt med gennem hans get af den landlige gangster Dillinger, er både Dillinger og Purvis og Purvis’ gentagne bemærkning under bankrøve­ fremfor en af de måske mere kendte jagt på Dillinger: Udover Dillinger-be- rierne om at folk ikke skal være kede af Chicago-gangstere). Han citerer med drifter som ikke direkte har noget med det for nu sørger han, Dillinger, for at fornøjelse square-dansen fra »My Dar- Purvis at gøre, og udover jagten på Dil­ dette bliver den største dag i deres liv ling Clementine« (og melodien »Red linger, følger vi undertiden også Purvis (»men pas på at den ikke også bliver River Valley« fra »Vredens Druer«), hans i situationer som ikke direkte har
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