Kritiken (2)
Ich habe mich sehr auf diese Version gefreut, schließlich ist es immer noch ein Fest, sich über die tschechische, deutsche, spanische, englische und amerikanische Version auch durch die in französischer Sprache zu wühlen. Zu den einzelnen Schauspielern der deutschen Fassung habe ich noch keine enge Beziehung aufgebaut, so dass ich beides mit gleicher Intensität akzeptieren kann. Denn es ist ein Vergnügen. Wie Le Chemin du paradis und Die Drei von der Tankstelle.
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A nearly ethnological excursion into the subculture of the London gallery, in Brecht's brilliant conception, but also setting a mirror to our entire culture. Pabst's sensitive ability to preserve typical alienation serves not only to satisfy artistic needs but is also a great complement to the ethnographic-cultural component of the film: after all, what is one of the characteristics typical for distinct cultures of the past? That the stories that its members tell and stage represent timeless truths of their lives, that names and situations merge on the side of both storytelling and the listeners. The listeners recognize themselves in the protagonists of the story, which they experience daily, and culture is maintained through this self-confirmation for the future. So, what do we observe? Through musical songs, we observe both Brecht's alienation effect and such a story at the same time. The story also transcends and shows itself as fictional, further reinforcing our insight into the culture of the London gallery! Through the brilliant finale, there is then a penetration of our overall culture by the criminal subculture. And what song will we sing about it?
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