Free Fall - Freier Fall

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A few reviews are in for Auf das Leben...lame google translate and spoilers



Life's too late when they wear you out of the apartment. So at least thinks Ruth (Hannelore Elsner), which without achieving great wealth repaired in a small workshop stringed instruments. A profession that she inherited from her father. Actually, in a young and still hopeful life, she was a cabaret singer and sang Yiddish songs about love, pain and transience. Until she met the man at a concert, they blamed for the deaths of their parents in Auschwitz. His remorse she saw as hypocrisy and stabbed him.

After eight years in prison, she was another woman. The events of her childhood, when she threw the mother with the phrase "You shall live" from deportation truck, they are still looking for home. Then there is the realization that life as a Jew after the war, especially in the land of the perpetrators, not pink Rand. Deep sleep is its enemy, which is why there is not a bed in her apartment. A comfortable armchair enough. Jonas (Max Riemelt), occasional furniture mover is more of a casual acquaintance. When she is driven from home and workshop, she wants to end her life. The Jonas can even MS-sick and desperate, just avoid yet. When his car, which serves him as a home, is stolen, he moves abruptly to her in her ugly social housing.

Uwe Janson film is far from the stereotype. The Harold and Maude-topic, young man and old woman is played softly and untertourig, much more emphasis on the film dialogues pointed, sharp criticism of the ignorance of the people and the possibility of salvation. To life! is not a trivial toast, here block is filled with content.

Producer Alice Brown is the daughter of film producer Artur Brauner and here leads the major theme of her father with the help of family continued. Her cousin Sharon Brauner plays the young Ruth great especially in the vocal scenes of flashbacks. The trauma of fascism, the message of the film, are not relics of a bygone era. If Hannelore Elsner yells the word Jew in the world, loud and over again, then this is enough to cause goose bumps. Together with Max Riemelt but the film remains radically currently so difficult for a simple categorization. Janson tells the story of an unlikely friendship, full of gentleness and understanding.

But missing from the film at all structured liability, a narrative depth. Jonas' lost love and his illness are not enough in contrast to the social trauma Ruth to balance this weight. As a result, the film loses some balance and threatens to slip in generalities. It is thanks to the ensemble that he still has inventory at the end.

http://www.epd-film.de/filmkritiken/auf-das-leben

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http://filmtabs.blogspot.de/2014/11/auf-das-leben.html

"When I was little, wanted to kill me by all means this country. Now that I am old, put me in a room with bars and no sharp corners and edges, just so I do not kill myself. "" A positive development, I would say. "There are dialogues like this, the light in the new film by film and scene-director Uwe Janson.

The old cabaret singer Ruth Weintraub (Hannelore Elsner) is "mentally healthy and organic" plugged in psychiatry because she wanted to kill herself after attachment and moving into a terrible Wohnsilo. It saves the housing-target- and soon unemployed movers Jonas (Max Riemelt). Jonas has deposed at the first sign of multiple sclerosis, which was also his mother died from his girlfriend and now flees fear. now Jonas is similar but in a surprising manner Ruth's great love, the film student Victor, what can rain down a flood of memories of the old lady and the desperate boy.

Rarely has a flashback was used as precise here with a film projector running backwards, the Victors film about the young Yiddish singer Ruth (Sharon Brauner) shows. From there it goes into a black and white nightmare even further back to the deportation of their Jewish parents and one's own escape with the help of partisans. The proud woman, signature role for Elsner, as Holocaust survivors was strong throughout their lives, buckled a short, but then but enough energy to drive the self-pity of Jonas.

"I do not know myself so out with the whole Jewish ..." "Do not worry, is not contagious." So sarcastic, mocking wonderful, much-needed reminder would be fun if the nightmares of the Holocaust were not so terrible. Uwe Janson tries on a book by Thorsten Wettcke to combine the two and can rely on good actors. This is partly sad love story, sometimes easier to simple encouragement by and for survivors. The problematic basic data are well placed Mathieu Carriere as a Jew Hunter and in the post-war Republic celebrated photographer of terror. The problem of a pacifist with the vengeance of a disenfranchised. But celebrate the survival of a catchy song and a very aesthetic final setting is a solution really very simple.

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this reviewer didn't like it at all......the others seem to be more summary than actual reviews, not much opinion stated...

The escaped from problems, in Berlin jobbende as moving supplies Jonas rescues the former singing star Ruth Weintraub at the last second before the suicide. While she undergoes in a clinic group therapy, he finds in her apartment old film reels and a projector. Due to the movies Jonas learns from Ruth's great love for Victor, a film student, in 1972, a film portrait of her draws and Jonas looks like an amazing way. He decides to help Ruth ... That the chemistry between Max and Hannelore Elsner Riemelt simply not true, you may well still live with. You can not understand what is the young man at the old lady here easily. What the film but then completely ruined, are the many small rotary sander Buchau, such as when the Jonas suicidal Ruth brings sneaking out of the mental institution. Or if later, the psychologist himself knocking at Ruth's door and she invites you to a hospital concert where she is the star. Oh God - what is it only for a psychologist! Far away from reality a story here is designed to be sold to the public as credible. When Jonas turns out even then at the end when infected by multiple sclerosis patient who has left out of sheer pity for his fiancée them to spare her his suffering, then drops a nothing more to attend. Conclusion: TV entertainment at its lowest ebb.

http://www.wolframhannemann.de/archiv/201409.shtml#14091501

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she gave 4 of 5 stars...

An old woman and a young man are just about to despair of life when they get to know yourself. In an unusual friendship they give each other back stop. A delicate melancholy flows through this told with economical elegance drama in which Hannelore Elsner and Max Riemelt provide an excellent acting duo. The producer Alice Brown has dedicated the film directed by Uwe Janson her mother Maria Brown, whose childhood memories flowed into the biography of the main character Ruth Weintraub.
  Moving trucks at their eviction remembers the old lady at the worst time in her life, her family when the Nazis transported away to be shot. Her mother sat the daughter of secretly to save them. The bad pictures from back then rob her of sleep and to live. Out of nowhere, but Ruth brings the memory of her great love one: The silent movers Jonas sees the film student Victor, she wanted to marry early 1970s, strikingly similar.

Jonas is sensitive to the plight of the old woman, because he is in an exceptional situation: Fearing his progressive illness he has severed all bridges behind him. Although these themes and motives are not new, you never have the disturbing feeling that you have seen this all before. Because the staging feels authentic because it is pleasant behavior. The emotion unfolds casually over moods. Jonas's solitude is mirrored when he, while Ruth is in the hospital, look from the seventies in her apartment Victors film. He delves into the love story of Ruth and Victor, who wakes up in flashbacks to their own lives. It is accompanied by the times wistful, sometimes cheerful vibrant Yiddish songs, singing the cabaret singer in a bar. Sharon Brauner makes this dual role as a singer and actress with a natural-looking Intensity own.

  That the story so do not appear cheesy despite their emotionality, thanks above all, Hannelore Elsner and Max Riemelt. They equip their characters in different ways with bite, presence and unwavering focus lonely people. At the same register Ruth and Jonah fine antennas, how much emotion is hidden in the messages of others. These demanding roles are wonderfully easy to play, so that the whole film feels elated at delicate, restrained manner.

Conclusion: melancholy and joy of life keep in an exciting way, the balance in this subdued, elegant staged drama. Hannelore Elsner and Max Riemelt harmonize impressive in the roles of two lonely people who divides an age difference of 50 years.


Bianka Piringer

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this picture is made even more melancholy by the places on the wall that are not faded, where pictures once hung

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