notes of truth, beauty and goodness on film during the series Cinema Bizarre # 8
>> # 7 A doctor, he should not be / / Mad Doctors
>> # 6 Reel Animals / / Grizzly
>> # 5 good bad movie / / Stanley
>> # 4 killed 50! / / Assault on Precinct 13
>> # 3 penetration, mutation, deformation / / Brian Yuzna
>> # 2 Where your money is / / Bloody Friday
>> # 1 Join Us / / Evil Dead
A small film history of close combat
"It they really are. Every army has its special forces, whose members are military close combat training and learn to kill the enemy swiftly and ruthlessly. State-trained killers are not fiction, but in reality is a cloak of silence spread over them. Therefore we can only experience in fiction more about them and their deadly trade. Bizarre Cinema invites you to a colorful potpourri of cut throats, broken necks and shattered skulls. A compilation of our favorite screen fighting mood for a very special icon of the lone wolf, from which the trainers always have to say now that they just can not use such people: John R. shows us how to fight and win. "(Hans-Arthur Marsiske)At Cinema Bizarre Special" The art of killing "of 25 September 2010 it came to fighting to the death in which not aesthetics and choreography was in the foreground, but a military efficiency of the killing and survival. Non-East Asian martial art with a free upper body, but a rather dispassionate, almost academic economics of defense and attack movements. The supposedly most efficient of these techniques, one could learn the same at the beginning, is currently practiced by the security forces in Israel. Krav Maga was the beginning of the 20th Century by the Hungarian Imrich Light field and developed in the 1930s gives the Jews living in Bratislava in defense against anti-Semitic attacks. One wonders why Tarantino's Inglourious Basterds is not a Krav Maga-trained elite troops leave, because the technology has a lot of visual potential, as can be seen in the Bourne Ultimatum . Against a nearly equal opponent demonstrates Matt Damon there in a small space, what is important in Krav Maga: always keep moving, hardly any direct blows, but rather from the side next rotations, so the hand ends up with the whole force of the torso in the target , focus on chest, neck, face the enemy, open hands, tremendous speed.
Series Human Weapon , presented from the Thorsten Wagner episode on Krav Maga works, like many of today's cooking shows à la The culinary adventures of Sarah Wiener : Two open-minded young Americans travel the world and can be introduced by the masters of their craft in more or less arcane martial arts. Mondo Cane for the cable-television era, have shrunk in the front of any escalation, barbaric Heavy-Metal-Mucke and incomprehensible mathematical formula to show time and time again: there are all over the world groups of initiated men, which, if they wanted, we could cut down on civilians Klum Patsch. Thank God they are on our side.
Who is the enemy? Kiefer Sutherland as Jack Bauer in 24 This morally and emotionally ambivalent aura of fascination and disgust, excitement and shame surrounding all highly specialized lone figures. They were trained to protect our order from external and internal enemies, fall in the course of this training but also a bit far out of our shame-regulated order. To fight it, they are similar to the enemy in his methods, what the distinction between good and evil for the viewer is not always easy to make. Characters like Jack Reacher in the novels of Lee Child and Jack Bauer from the TV series 24 are a new kind of semi-gods of modernity, immortal and human at the same time, walking the fine line between pacified order and violent chaos, save the world with blood on their hands, which you do not want to meet in the dark.
especially to Jack Reacher, the hero who "of some Plausible on request, in modern societies be both indoors and outdoors, to the point brings" (Ekkehard Knörer in Cargo 2008), it is again the worrying imer mixture read from archaic intuition and hochintelligentem Trickstertum that characterizes the actions of all the craftsmen of the killing. Each of their fights to the death against overwhelming opponents (for example, against the steroid-giant Paulie in the grand Janus-man ) is on all flesh and blood of previous efficiency of the bone breaking ultimately a street fight is fought at the with nasty tricks. Completely Machinizing can not kill.
Beyond Shame: Anthony Hopkins and Alec Baldwin in The Edge "Most people die in the wilderness of shame": This Set from Lee Tamahoris The Edge (1997 dt Razor ), the screenwriter David Mamet in different variations Anthony Hopkins puts in his mouth, impressed me more than anything else in this film about three men gathered around in Alaska their survival fight. Hopkins, who is introduced as an unworldly bibliophile and runs up in the wild thanks to his knowledge been read in top form, added: The shame prevents clear thinking. So the only niche advantage, which the human species has on the territory of the other classes that advance. Later in the film we see Hopkins and Alec Baldwin, as with homemade spears and knowledge of the gravity make a huge bear an end. At this primal scene of the local struggle can be read two fundamental lessons of the craft of killing: 1: unlearning the shame and remember to use your real niche advantage: Kill or not connected with the brain. 2. If your own power is not sufficient to bring the enemy with his own.
"With this very long murder scene, I wanted me some time to settle against a cliché. In general, the murders happen in movies very quickly, a knife, a shot, and usually takes not even the murderer nachzuschauen the time, whether the victim is really dead. Therefore, I thought it was time to show again how difficult, tedious and time consuming It is a man umzubringen.Wegen the taxi driver outside the farm understands the audience why the murder must be done silently and no profit fall. Accordingly, our old principle, the murder carried out by means which suggest the place and people. We are on a farm, and it is the woman who kills him. We therefore use household items: a pot of soup, a kitchen knife, a shovel, and finally the gas stove. (Alfred Hitchcock in an interview with Francois Truffaut, in: M r. Hitchcock, as you have made the )
Triumph of Amateurs: Paul Newman and Wolfgang Kieling in Torn Curtain
The scene described by Hitchcock in Torn Curtain offers, says Mike Schimana told the Special Cinema Bizarre, a beautiful and rare example of the victory of two amateurs to a professional killing. Wolfgang Kieling plays the agent Gromek, who until shortly before his death with a disparaging smile on his face, because he is highly specialized in its hubris seems ridiculous and impossible that he is Paul Newman and a peasant woman could be dangerous. Toll at the scene in addition to its long silence and the fact that it is the woman who overcomes her shame as the first and the attack passes. There are kitchen utensils of the Spartan, which bring the case to Goliath Gromek: soup pot, knife, blade, furnace.
The craft of killing, the term suggests, it can be learned. It is holding a profession, its representatives in a work-sharing system, the task of stabilizing this without the boss makes the hands dirty. In the series Deadwood , in the very precise by the emergence of a social order founded on property says it is in the 5th Episode of the 3rd Season a fight that makes the connection between power and violence very well. The economic empire of Al Swearengen, which he initially with brute force and then has built more with diplomacy, negotiations and establishment of regulatory structures is, at this point of the story Hearst threatened by outsiders. This is a wild capitalist with a penchant for metaphysical evil, the place Deadwood entertains no interest than to suck it up to the last cent, then to move on.
The beast with two heads: Dan Dority vs. . Captain Turner Deadwood
In the episode A Two-Headed Beast (dt eye for an eye ) meet with Dan Dority and Captain Turner, the two burly men for the rough of Swearengen and Turner. This is a truly barbaric clash of elemental forces in the mud, which does, however, towards the end of the scene that a camera movement very beautifully clear place against increased seated audience. Swearengen and Hearst look down on the battle being conducted by proxy. Since words, tactics, negotiations in the struggle for resources did not help, the powerful have their specialists loose on each other. What seems like a throwback turns out to be a necessary cog in an already highly differentiated system in which the violence unleashed their function. As we look to itself the powers of the edges, like the world is falling apart, so they can continue to exist.
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Thursday, 12.23, 23.55 clock, WDR. Torn Curtain (OT: Torn Curtain )
Monday, 27.12, 22.15 clock, ARD. The Bourne Ultimatum
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