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Zeughauskino: Hommage an Max Schreck

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Zeughauskino: Hommage an Max Schreck 52 WIEDERENTDECKT WIEDERENTDECKT 53 Der Favorit der Königin restaurierte Fassung Hommage an Max Schreck SA 12.14. 54 Uhr An der Harfe: Merit Zloch + Einführung: Stefan Eickhoff Der am 6. September 1879 in Berlin geborene Darsteller Max D "#$$, R: Franz Seitz, B: Alfred Schirokauer, Franz Seitz, K: Karl Attenberger, Franz Planer, D: Hanna Ralph, Maria Mindszenty, Alf Blütecher, Max Schreck, Schreck schuf mit dem „Nosferatu“ eine der einprägsamsten ECƘƐ Ő DE mm, dt. ZT Kinofiguren. Als wandlungsfähiger Charakterdarsteller der Die 1922 auf dem Geiselgasteiger Filmgelände gedrehte Großpro- Bühne wurde Schreck zu Lebzeiten nicht auf diese Rolle festge- duktion Der Favorit der Königin lehnt sich an Ernst Lubitschs legt. Vielmehr profilierte er sich an literarisch fortschrittlichen Historienfilme Anna Boleyn und Madame Dubarry an. Der Film sollte Bühnen wie den Münchner Kammerspielen und dem Berliner helfen, die Münchner Lichtspielgesellschaft Emelka neben der Ufa Staatstheater in grotesken Nebenrollen, sorgfältig ausgestal- und München als Filmstadt neben der Filmmetropole Berlin zu teten Chargen und auch gelegentlichen Hauptrollen, wie z.B. etablieren. Der Favorit der Königin entwickelt seine Schauwerte vor in Molières Der Geizige . Nach seinem plötzlichen Tod im Febru- allem aus der makabren SuJet-Verortung. Ärzte versuchen einer ar 1936 geriet sein Name vorübergehend in Vergessenheit. Erst todesähnlichen Krankheit Herr zu werden und sezieren dazu trotz durch die Aufarbeitung des Stummfilmerbes nach dem Zweiten eines Verbots der Königin Leichen. Sie beschaffen sich die Leichen Weltkrieg wurde Schreck als „Nosferatu“ wiederentdeckt. illegal und werden angezeigt. Der verantwortliche Arzt wird Seine umfangreiche Arbeit an deutschen Theatern und im hingerichtet, doch sein Schüler führt dessen Werk fort. Erst als die Film verschwand dabei jedoch hinter dieser emblematischen Krankheit auch den Hof erreicht, lenkt die Königin ein. Max Schreck Horrorgestalt. Kurator der Hommage an Max Schreck ist gibt eine grotesk-komische Nebenrolle. Den Leichenhändler Jack Stefan Eickhoff, dessen Monographie Max Schreck – Gespenster- formt er zu einem Halunken Shakespearscher Prägung. Er verleiht theater 2009 im Belleville Verlag erschienen ist. dem Film einen kräftigen Schuss bizarrer Phantastik und überspitz- ten Humors. (ste) Das Stahltier Nosferatu – Eine Symphonie des Grauens (4ƐƖƐƙƑƙ7JTŐ Einführung: Stefan Eickhoff 51ƐƘƐƙƑƙ7JTŐ Am Flügel: Stephan von Bothmer · restaurierte Fassung &ƑƙƓƔ4$-9KNN[<KGNMG&#TKDGTV/QI/CZ5EJTGEMƗƖ Ő DE mm D 1921, R: F. W. Murnau, B: Henrik Galeen, K: Fritz Arno Wagner, Günther Krampf, Zum 100-Jährigen Jubiläum der D: Max Schreck, Greta Schröder, Gustav von Wangenheim, ca. 90' ŐƓƕOOFV<6 Reichsbahn wird Das Stahltier Der im Sommer 1921 hauptsäch- 1934 als Imagefilm in Auftrag lich „on location“ in deutschen gegeben, nach seiner Fertigstel- Hansestädten und in den Bergen lung aber wegen der experimen- der Hohen Tatra gedrehte Film- tellen, an den Expressionismus klassiker verarbeitet Erfahrungen angelehnten Bildsprache verboten. Regisseur Willy Zielke, der des Ersten Weltkriegs und das auch Autor, Kameramann und Cutter seines Films war, landet nach durch ihn zerstörte Idyll. Nosferatu ist die erste Filmadaption des dem Verbot des Films und einer Kameramitarbeit an Leni Riefen- damals in Deutschland noch wenig bekannten Romans Dracula von stahls Film Olympia im Irrenhaus. Eine Kopie von Das Stahltier Bram Stoker. Ein auf den Film folgender Rechtsstreit mit Stokers überlebt in der privaten Sammlung Riefenstahls. Der Film ist in seiner Witwe trieb die Berliner Produktionsfirma Prana in den Ruin. Der außergewöhnlichen Bildästhetik ein prototypisches Doku-Drama, mumienhaft gespenstische Graf Orlok aus Transsylvanien will in der das stilisiertes Realbild und inszeniertes Nachbild mixt. Max Schreck deutschen Hafenstadt Wisborg ein Haus kaufen. Er verliebt sich in spielt den Erfinder des ersten Dampfwagens, den Franzosen das Abbild der Frau des Maklergehilfen. Auf seiner Reise zur neuen Nicholas Cugnot, in einer historischen Episode, deren sublim-alter- Heimat hinterlässt Orlok eine Spur des Todes, die Weltkriegserfah- tümlicher Grusel an Carl Theodor Dreyer erinnert. Die fiktionale rung wird im fantastischen SuJet unmittelbar (be)greifbar. Max Rahmenhandlung des Films mit ihren futuristischen Einstellungen Schreck spielt diese schwarzromantische Liebe mit feinem Gespür von Gleisen und Menschen orientiert sich hingegen am experimen- für den extrem verdichteten Effekt und verblüffend präzisem tell-dokumentarischen Stil Hans Richters und Walter Ruttmanns. (ste) Timing. (ste).
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