shomingekiblog is a blog associated with my former print magazine shomingeki published in German language. This blog will focuse mostly on english texts, translations from German into English and in some exceptions french texts. The official home page is at the moment: www.shomingeki.org. The official page for the German language version of shomingeki is: www.shomingekionline.org
shomingeki is now after 24 printissues available . Non-Profit.
Wednesday, February 17, 2016
Notes on Rudolf Thome – Überall Blumen (Rudolf Thome – Flowers Everywhere) by Serpil Turhan, Germany: 2016-Berlin Filmfestival VI.-Forum
beginning and near the end we see prints of films by Rudolf Thome
lying in piles of rusted canisters, moments which are not only just
sad but depressing. Film prints in rusted canisters – two films I
saw in recent years at the Forum come to my mind, the wilful
destruction of the nearly complete film heritage of Cambodia by the
Red Khmer in Davy Chou´s Le Sommeil d´Or (Golden Slumber, 2012) and
prints of Indian films in a former film studio near Bombay ( now
part of the Puna Film institute) in Prabhat Pheri (The Journey with
Prabhat, 2014 ( by the film students Jessica Sadana and Sammarth
Dixit. In this film, an important part of German film history decays
literally almost in front of my door.
premiere of Rudolf Thome – Überall Blumen, yesterday at the Delphi film theatre was quite memorable. There was laughter everywhere and it evoked in
me a likely memorable screening of Truffaut´s Les Qautre-Cent Coups in 2014 at the Cinematheque in Paris.
In Paris like yesterday in Berlin, the ages of the audience variesd between those who could have been companions of Thome´s or
Truffaut´s early films, people in my age who discovered Thome in the
1980s, and very young people who could be my children or Thome´s grandchildren. When I discovered one of my favorite
films by Thome, Berlin Chamissoplatz, the filmmaker Serpil Turhan was
still a baby.
Rudolf Thome –
Überall Blumen is a bit like Ozu´s Bakushu, a seemingly bright and often
funny film. The melancholy is subliminal. When the film becomes a
memory the slight feeling for this melancholy one had during the
screening becomes stronger.
The film is
entirely shot at Thome´s converted farm in Brandenburg and one of
the miracles of this film is the perceptible relationship between the
portrait of Rudolf Thome and the environment. This never looks
constructed but it is filmed with a somnambulistic lightness.
was involved in Rudolf Thomes work as a main actress in his “time
travel-trilogy” which includes one of his masterpieces Rot und Blau
(Red And Blue, 2003) and later as an assistant. But in this film,
Turhan focuses mostly on every day rituals. Conversations about the
different kinds of brushing the teeth in some of his films, Thome appears as
a gardener, a lover of birds or as a father etc. Once we see him writing the
screenplay for his 29.th film Writing a script, we know from his
Moana-Blog (Link), is for Thome a public affair which you can follow life in the nternet – from the
handwritten notes until the finished script.This creative process is
embedded in a nother every day ritual.
There is a
balance between long interviews and a kind of still life shots of the
natural environments of this converted farm and the landscape of the
village, a balance between long conversations and moments of silence.
The pond of his garden is cleaned and we see croaking frogs. The
excitement of Thome when he has filmed red starts, the daily work on
his blog but than as well conversations about the obligatory self
staging of Thome, the director who is now filmed by one of his
actresses. The order in this film is not based on Thome´s
filmography and there is no real volitional hierarchy between the
so-called banal and significant moments of his life like it is
presented in the film´s interviews.
pleasure in gardening, bird watching, bicycling and every day rituals – there
are moments of losses: the coincidental birth of his youngest son and
the death of the wonderful cinematographer Martin Schäfer, the
abandoning of his 29.th. Film. Later they are talking about the death
of another son of Thome but also about the late Marquard Bohm, one of
Thome´s favorite actors.
There is a barn
where Thome collected several clapperboards from different films he
made. The titles are still written on it. In another moment, Thome
tells that he has still stored the costumes once designed for
Hannelore Elsner who played in several of his films in the 2000s. He
is frustrated that no archive is interested in these costumes. In
these moments, Rudolf Thome – Überall Blumen has a bit of an elegy
on a great filmmaker which is abandoned by film historians.
I can´t get
these images of the film prints in rusted canisters out of my head,
they present for me the drastic endangerment of what we call the film
heritage. These are the drops of bitterness in this beautiful affectionate and strangely moving film portrait.
Among the films
made by one filmmaker about another one, Rudolf Thome – Überall
Blumen by Serpil Turhan belongs to me with films like Kohi Jikou (Café Lumiere, 2004) Hou Hsiao Hsien´s homage to Yasujiro Ozu, or Ekti Nadir Naam (The Name Of a River), Anup Singh´s homage to Ritwik Ghatak to the most beautiful films in recent years dedicated from one filmmaker to another.
Feb 20, Arsenal 1 19.00
Feb 21 Akademie der Künste 14.00