The dandy of terror

The dandy of terror

All pictures: NFP

A "terrorist for hire" and the customs picture of an epoch: "carlos – the schakal" is an entertaining gangster movie

In the "international judian-zionist capitalism" he saw his main opponent, but he also struggled against arab, for example those states he for "weak", too compromise in the "anti-imperialist" fight against israel held. "Carlos" – so the world knows ramirez sanchez, the militant left from venezuela, who under his fight name before about three decades "carlos" the international media star became. An enigmatic figure whose appeal still captivates today and whose many facets of the french director olivier assayas ("IRMA VEP", "demonlover") now makes the topic of his latest film. So historically correct and exactly the facts also researched his MOGEN, assaya’s interested primarily the myth, the public figure, the modern walking of this terror-dandy who loved the women, fast cars, good wine and coarse pistols. Not randomly, assayas calls the question of his favorite movie viscontis "ludwig" – a world-life figure that fruh has worked on her own mythification.

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The man, who shot liberty valance

Viscontis "ludwig" is my favorite movie, and I had the movie in his head when I "carlos" shot. That was my access. Carlos is a modern myth, understandable and yet incomprehensible, but unknown. As soon as a truth is among, it is inevitably contradicted by an opposite truth. Carlos’ attraction is justified in this appeal.

Olivier assayas

As enigmatic as the shape of the terrorist "carlos" is also the shape of this film, which is currently circulating in the world in at least four different catches: the longest of them, shown at his festival premiere in cannes, which corresponds to the miniserie broadened shortly thereafter in the french private broadcaster, lasting 333 minutes, the french coinofang, on the other hand, only 165 minutes. On a DVD, france is also a 290 minute catch. The movie comes to the german cinema now in two catches: the regulations, cinema-cut by assaya’s self has 190 minutes, the "cineast" corresponds to the cannes premiere.

The golden years of terror

"Carlos – the schakal" referred from the life of ital ramirez sanchez, that militant left from venezuela, who under his fight namen before about three decades "carlos" the international terrorist and media star became. Where the nickname "jackal" only one of fred zinneman’s eponymous FORSYTHE film formed invention was british journalists, which carlos never used, and which does not occur in the film.

The dandy of terror

This uses in the 1970s, as well as the at least klammschandische sympathien for militant left were still gross. In 1973, the radical burgersohn hosted at the palastian pflp and experienced a few smaller, but from the beginning of medial spectacular attentate, a young rise to worldwide sampling, which in carlos’ most familiar action, the hostage taking of the OPEC conference in december 1975 in vienna munde. At this point, historically, carlos’ meaning in the international level of violence.

Because through the acceptance of losegeld, the lack of readiness to sacrifice its own life for dear-octroyed principles and, above all, through the souveranitat, which carlos ultimately claimed in all tactical decisions, he excluded himself within his movement. Experiencing director olivier assayas describes this one "golden years" terrorism as – among others – a fight for eitler EGOS, in which carlos ultimately is underlying: he is excluded from the pflp, thus losing a part of his protection and the for his "actions" necessary infrastructure.

Since the second half of the 1970s, he operated with a small group of faithful followers, which was further streamlined by temporary coves with other sub-groups, intelligence services or governments, as a kind of underground solder, "terrorist for hire", although never in line with linksextremer policy design, but within this, but as an exceptionally supple showed and primar put into the service of that client, which offered the best price. For a while he found and protection in the GDR, then in hungary, father in the middle east.

The dandy of terror

With the years the activities of the group were more and more political "gutted" and consisted primarily in the liberation captive members or in personal motivated rache acts. Increasing, and end -lative with the resolution of the block confronttion since 1989, but carlos came into isolation and became the burde for his hosts – because especially france always held at carlos’ persecution, this was finished at his arrest 1994. The last third of the film turns primarily around this all first of all, then increase descent.

Wine, woman and violence

These facts are largely known. Balbet schoeders sensational documentation "L’advocat de la terreur" unlocked extensively the last decade of carlos’. Decisive for the grandiose functioning of this film is the staging art of assayas, and the shape he gives the movie. "Dreams never end" the "new order"-song, the "carlos" leitmotivisch runs through – a documentary as a day room and consciousness stream.

The director holds the look, the sound and the taste of a past ARA. Cinema from movement, heat and sensuality, dynamic, convincing and already. Full of action, and extremely economically in its narration: in relatively strict tryptichon structure shows the movie ascent, high point and case of its main character. Knapp and kuhl, despite his long never in the style of television edges "paid" how comparable films otherwise, but left in the form of open sketches. At the same time with the basic pace and the feeling of rhythm change, the assayas has always dominated how few and that he already in films like "IRMA VEP", "demonlover" and "boarding gate" practiced: restless, nervous, as on the go are the pictures.

The dandy of terror

Carlos himself is always in the center, but at the same time continuously mirrored: by real mirrors, which appear again and again, and in which carlos looks at himself; in the women he, who is like groupies around him, repeatedly proven itself as a valid; in the manners he needs; in the clients who confirm his own meaning by sheer prasence; in the media that do that by reporting him.

"The baader meinhof complex" shrinks in comparison

Only through all this "carlos" at the same time an entertaining gangster film in the style of "public enemy no.1" and a documentary. Was filmed in several european countries and lebanon. The actors usually come from the same countries or regions, such as those who tilder them – this is reason enough to recommend each viewer the subtitled original catch: only in the wealth of different languages and accents is an authentic impression of the internationality of the events.

"Carlos" is otherwise a wonderful actwork work and once more an example for that, that german filmmakers know too little (and only the same) with their german actors know: julia hummer has never seen such a good seen in christian petzold, as here as here "nada", nora von waldstatten is souveran and multi-faceted in the difficult role, which is always as a small burgered carlos-gattin magdalena kopp, alexander scher as a wine rich a rediscovery.

Names names edgar ramirez in the title role: big. So this is also a blow in the face of all those previous terrorism films, which know what is correct and wrong and authentic and important: "the baader meinhof complex" approximately shrinks in comparison to the level of a subhachinger school management. A "TV movie" is "carlos" only insofar as dominik grafs "in the face of the crime" one is: a factory that incredibly rich in facets blasts the convention of the 90-minute format, which is more epic despite the coarse 3—nude structure, and that only on the coarse canvas unfolds its whole beauty and quality.

The dandy of terror

Friend enemy relationships and political provocation

Also in the details of the plot, everything is incredibly rich and stimulating, full of highly interesting and barely stretching details. For the observer in its sensuality, without a moral. The film shows the terrorists as mords in political intention. He also shows her good wine and a lot of whiskey drinking, smoking, dancing, in fleets cars and in bed, in small hotels and coarsely household homes. Terrorism appears here as a global new economy, and as assayas’ carlos did not even have a remote similarity with the unscrupulous financial shelves of our today’s epoch. He was a global player, a success-oriented entrepreneur who acquires continuing performance, and ies the money of other investors.

Outstanding the film also catches the mood of the cold war, the many entanglements from friend enemy relationships, consabilities, coarse strategies and small tactics. A world where everyone also cooks his own soup. In a big scene, yuri andropov, at the time of KGB boss, as he calls the gathering representatives of the left-wing-radical organizations in baghdad to the murder of the egyptian head of state saddat, and thus meets the just begun peace procedure in middle east.

The dandy of terror

The political provocation of the film lies in such short pracers, as in its central, never explicitly formulated thesis: there is no terrorism that is not state; also behind "carlos" over two decades of ranging work, there were always any governments that gave the appearance, financed, and at least tolerated the group.

Assayas’ movie is everything soderbergh’s "cheese" wanted to be: a biopic about a professional revolutionary who takes political violence seriously, which does the delusion in radicalism, without condemning it with blindly, that makes it clear that these people have to call mords, without that really much about them told.

The dandy of terror

The dandy of terror

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