Repo Man Von Alex Cox

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Repo Man Von Alex Cox Repo Man von Alex Cox Objekttyp: Group Zeitschrift: Filmbulletin : Zeitschrift für Film und Kino Band (Jahr): 26 (1984) Heft 139 PDF erstellt am: 23.09.2021 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch vermeintlich hinter ihr herrasen, durch Regisseur realisierte, wurde nicht nur von AKROPOLIS NOW, der hinter dem ihr Fernglas im Auge. In Zagreb, in mit einem bescheidenen Budget hergestellt, Plot lauert. Belgrad dasselbe Spiel. er knüpft im besten Sinne auch Demnach, auf zu AKROPOLIS NOW! Professionelle Schmugglerin sei sie, hat an die Tradition der amerikanischen Wie sagte weiland doch Ferdinand, den ihm Camille erzählt, und Flo hat dies für B-Filme an. (Im nachhinein stellt sich sie auch Pierrot le fou nannten, schon einen Witz gehalten. Zwischenzeitlich also heraus: Es war kein Zufall, dass so schön: Allons-y, allons en, le voyage schwant ihm ein schlimmer Verdacht. Hans Liechti unter den Besuchern des forme la jeunesse! Er durchsucht den Wagen und findet B-Film-Marathons, der vor einiger Zeit Walt R. Vian versteckte Uhren. Nach einer weitern im Filmpodium Kino gezeigt wurde, Grenzkontrolle, bei der ihr Wagen auszumachen war.) gründlich durchsucht wurde, meint Geschichten echter B-Filme hängen oft Walti leichthin, dass sich so ein Ami- an einem hauchdünnen Faden, der sie Fass doch eigentlich auch zum gerade noch notdürftig zusammenhält. Schmuggeln eignen würde, und fällt Ihre Geschichte allerdings ist eben nur aus allen Wolken, als Flo ihm gleich Vorwand, um den Film über die Runden darauf die Uhren unter die Nase hält. zu bringen, schafft aber Freiräume, um Einziger Vorteil dieser Entdeckung: die von den kleinen und unscheinbaren beiden Freunde wissen nun, dass auch Dingen des Lebens - und damit vom die geheimnisvolle Frau dieselbe Richtung Wesentlichen - zu reden, ohne Langeweile fährt. aufkommen zu lassen. Liechti scheint das sehr genau erkannt zu »Low budget» geistert als Stichwort seit haben. Sein Film belegt es. Ferner stellte einiger Zeit schon durch die Filmszene er das Pressematerial zu AKROPOLIS REPO MAN Schweiz. Für die einen lastet's eher als NOW unter das Motto von Rodrigo Jo- Fluch über dem einheimischen kisch: «Wir Männer erwarten von un- von Alex Cox Filmschaffen, da nun mal sehr wenig Geld serm Leben oft zuviel, und zwar in für eine Filmproduktion in der Schweiz einem Sinne, der uns die Dinge übersehen aufzutreiben zu sein scheint, andere lässt, die wir 'Kleinigkeiten' und sehen in ihm durchaus die Rettung, den 'unbedeutende Ereignisse' nennen. Das Ausweg aus der - ob sogenannten oder sind aber in der Regel die Dinge im wirklichen, bleibt umstritten - Krise, die Leben, ja das tägliche Leben überhaupt.» Rückbesinnung auf die wundersamen AKROPOLIS NOW. Was unterhält, ist Buch: Alex Cox; Kamera: Robbie Müller; Anfänge des neuen Schweizer Films. die Geschichte, die erzählt wird; was sie Ausstattung: J. Rae Fox, Linda Burbank; Ton: Selbstverständlich lässt sich der Begriff vorantreibt, ist der Dreh, der erst zum Warren Hamilton: Musik: Iggy Pop, Los Plugz, auch in Zusammenhang ' mit den oft Schluss seine Auflösung findet. Was Black Flag, Suicidal Tendencies, Juicy schon legendenumwobenen B-Pictures aber wirklich zählt, sind die Dinge, die Bananas, The Circle Jerks, Burning Sensation, Fear. aus dem Flollywood der 40er und 50er dazwischenliegen, die unscheinbaren Darsteller (Rollen): Emilio Estevez (Otto). Harry Jahre - soweit die beiden Details: wie die Leute miteinander bringen Dean Stanton (Bud), Fox Harris (J. Frank reden, Begriffe nicht ohnehin schon als Synonyme was sie verbindet oder trennt, Parnell), Olivia Barash (Leila), Tom Finnegan verstanden werden (was in unsern worüber sie sich ärgern und freuen - wie (Oly), Tracey Walter (Miller), Sy Richardson Breitengraden eher selten der Fall sein sie sich verändern. So berechtigt ein (Lite), Vonetta McGee (Marlene), Dick Rude dürfte). Vergleich mit amerikanischen B-Filmen (Duke), Jennifer Balgobin (Debbie), Michael Nun, der erste Spielfilm, den der auch ist, so unamerikanisch, aber echt Sandoval (Archie), Bruce White (Reverend Del Eddie Velez Brüder langjährige Kameramann Hans Liechti als schweizerisch ist der eigentliche Stoff Larry), Zamora. (die Rodriguez), Susan Barneas (Agent Rogersz) u.a. Produktion: Edge City Prod.; Produzent: s ; Jonathan Wacks; Co-Produzent: Peter McCarthy. USA 1 983. 95 min, farbig, 35mm. Eine Landkarte unter dem Vorspann: Los Alamos, Albuquerque, Indian Ra- mah, eine Markierung zwischen zwei kleinen Orten. Dort nun die verlassene Weite Amerikas, ein Highway, die bekannte gelbe Mittellinie, ein einsamer schlingernder 64er Chevy Malibu mit einem summenden, selbstvergessen irren Fahrer mit Dennis-Hopper-Qualitäten am Steuer. Dann am Strassenrand ein Cop auf dem Motorrad, der ihm nachsetzt, ihn anhält, zu neugierig ist - er wird den Kofferraum öffnen, und Sekunden später werden nur noch zwei rauchende Boots von ihm übrig sein: KISS ME DEADLY. Wie in diesem Film Noir von Robert Aldrich ist in einem verschlossenen Behälter, vor dessen Öffnung gewarnt wird, radioaktive Masse. 31 filmbulletin ihm die Gelegenheit bietet, sich zehn weil sie eine grosse Sache wittern. Und Dollar zu verdienen: für fünfundzwanzig die Geschichte von Leila, die an eine nimmt er an. Otto soll ein zweites Auto, Beziehung mit Otto denkt, vorher aber irgendwie in Zusammenhang mit der noch den Chevy Malibu mit vier toten schwangeren Frau des Fahrers, «out of Ausserirdischen suchen will, jenen that bad area» bringen - und bevor er Kofferrauminhalt, hinter dem auch Agent sich's versieht, ist er Repo Man geworden, Rogersz mit der Metallhand und ihre «repossessor» von Autos, deren Killer her sind. Raten nicht pünktlich gezahlt werden, REPO MAN verbindet ein loses Netzwerk professioneller Autodieb letztlich. kleiner Geschichtchen geschickt Otto macht in einigen Coups seine durch amüsante Äusserlichkeiten. ersten Erfahrungen - Rückschläge, Erfolge, Immer setzt die neue Episode schon ein, Ängste und Bedenken - noch in wenn die vorhergehende noch nicht zu Begleitung der routinierten Repo Men Bud Ende ist. Tempo statt Logik, Überraschung und Lite. Damit ist REPO MAN auch die statt zwingender Schlüssigkeit. Geschichte der Repo Men, ihres Inszenierung statt der Ursprünglichkeit Lebens, ihrer Arbeit, ihrer Träume, ihres manch anderen Films der unabhängigen Repo-Codes. amerikanischen Produktion. Gerade Da ist vor allen andern Bud, gespielt noch wird im Radio von einem von Harry Dean Stanton (in einer Fast- Eiswürfelregen gesprochen, schon weist das Hauptrolle), mit hagerer Statur, zer- nächste Bild als Realität aus, was für furcht-schmalem, fast eingefallenem unwahrscheinlich gehalten werden darf Gesicht, den warmen, braunen Augen - der Zuschauer schmunzelt und muss voll leiser Resignation und Melancholie, sich um die Wirklichkeit nicht weiter voll ruhiger Energie, fast trotziger Härte kümmern. Das ist es doch, was wir vom und grosser Würde gleichermassen: Kino wollen - unter anderem. «Ich sterbe lieber im Stehen, als dass Und immer wieder treffen sich unter ich auf Knien lebe.» Elf Jahre war er den verblüffendsten Umständen alle Repo Man, jetzt hat er die Nase voll, Figuren bis hin zur aufgebracht zeternden von den für den Chevy Malibu gebotenen Besitzerin einiger umgeworfener 20'000 Dollar könnte er sich ein Mülltonnen - klein ist die Welt des Alex Stück Land, zwei Trucks, ein paar Bullen Cox. Eine Welt, in der nichts mehr das kaufen und ein ruhiges Leben ist, was es einmal war. Die Liebe nicht, beginnen. Aber Bud weiss auch das die Frauen nicht - die finden jetzt tote schnelle, harte Leben der Repo Men zu Ratten ausserordentlich charmant und Der Chevy Malibu fährt weiter. Er ist loben: der Repo Men, denen die ganze reagieren statt mit einem spitzen Schrei eine der Hauptfiguren dieses Films, Nacht gehört, jede Nacht; die um drei mit der Spraydose. doch im Gegensatz zu Carpenters Uhr ins Bett gehen und um vier wieder Was es nicht mehr gibt, sind die grossen aggressivem 59er Plymouth Fury aufstehen, die sich nur mit Speed auf Kino-Gefühle. Nicht mehr Gefühl CHRISTINE bleibt er passiv - gefahren, den Beinen halten können, die alleine und Leidenschaft, sondern Spannung abgestellt, geklaut, geöffnet, geflogen arbeiten - «wie John Wayne» -; die wie an der Oberfläche in den bunten Nächten zum Schluss, immer eine leise schwarz bebrillte Mafiosi ausschwärmen, eines No-Name
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