Danièle Delorme and Jean Gabin in 'Deadlier Than the Male.' Danièle Delorme movies (See previous post: “Danièle Delorme: 'Gigi' 1949 Actress Became Rare Woman Director's Muse.”) “Every actor would like to make a movie with Charles Chaplin or René Clair,” Danièle Delorme explains in the filmed interview (ca. 1960) embedded further below, adding that oftentimes it wasn't up to them to decide with whom they would get to work. Yet, although frequently beyond her control, Delorme managed to collaborate with a number of major (mostly French) filmmakers throughout her six-decade movie career. Aside from her Jacqueline Audry films discussed in the previous Danièle Delorme article, below are a few of her most notable efforts – usually playing naive-looking young women of modest means and deceptively inconspicuous sexuality, whose inner character may or may not match their external appearance. Ouvert pour cause d'inventaire (“Open for Inventory Causes,” 1946), an unreleased, no-budget comedy notable...
- 12/18/2015
- by Andre Soares
- Alt Film Guide
Leaning back and shrouded in the nocturnal darkness of an interrogation room with only a glint of overhead light hitting his upper chest, a convicted serial killer glares at his psychiatric interrogator and insists “you already know that!” This is the introductory image of taboo-obsessed German filmmaker Romuald Karmakar’s The Deathmaker (1995), and the jarring lack of context to the statement is by design; it’s as if Karmakar is saying, “This is a film about knowledge.” Confined entirely to the space of a single nondescript room in Weimar-era Germany yet surprisingly and exhilaratingly expansive, the rest of the film constitutes a diverse set of interrogations into what it means to know, what can be known, different types of knowledge, and the depths of human behavior that knowledge actually complicates and obfuscates rather than illuminates.
Until a brief appearance of two prison guards and a final-act injection of a young victim and a visiting doctor,...
Until a brief appearance of two prison guards and a final-act injection of a young victim and a visiting doctor,...
- 3/25/2013
- by Carson Lund
- MUBI
Germany's 1996 Oscar submission, booked for screenings at the Palm Springs Film Festival and the American Cinematheque's "New Films from Germany" series, "The Deathmaker" (Der Totmacher) is a nasty, up-close encounter with one of the century's most notorious mass murderers.
Based on transcripts of a six-week psychiatric evaluation of Fritz Haarmann--who was accused in 1924 of seducing and then killing more than 20 young men--Romuald Karmakar's debut feature is an actor's showcase, with the spotlight falling heavily on lead Gotz George.
Grubby and yet manipulative, cracked World War I veteran Haarmann is a sympathetic monster (he was the model for the Peter Lorre character in Fritz Lang's "M"). The setting is one unadorned room and the action is limited to a few theatrical gestures. In the course of a dozen or so long dialogue scenes the life story and warped perspective of a psychotic, yet oddly lucid killer unfolds.
Although he jokes constantly and admits to the killings, Haarmann shows some remorse. In one long wrenching series of questions and answers, we learn of his early homosexual experiences. He also hated his stern, unloving father. But the interviewee is also evasive and playful, quoting the scriptures and anticipating his own execution.
When the questioning of the dapper, shocked Dr. Schultze (Jurgen Hentsch) turns to why Haarmann chopped up all the bodies and how he disposed of all the parts, one becomes mighty uncomfortable. There are no flashbacks or re-enactments of the grisly slayings, but the material is incredibly graphic nonetheless.
The actors, thankfully, are superb, including Pierre Franckh as the silent stenographer, reacting to the undeniably charismatic Haarmann through furtive glances and body language. Hentsch is outstanding as the questioner who leads the deranged Haarmann into many stark revelations.
At nearly two hours, the film is exhausting, bitter medicine. But to see the amazing George, who won the best actor award at the 1995 Venice Film Festival, is the reward awaiting those who make the effort.
THE DEATHMAKER
(DER TOTMACHER)
Pantera Film
Director Romuald Karmakar
Producer Thomas Schuhly
Writers Romuald Karmakar, Michael Farin
Director of photography Fred Schuler
Editor Peter Przygodda
Production designer Toni Ludi
Color/stereo
Cast:
Fritz Haarmann Gotz George
Dr. Ernst Schultze Jurgen Hentsch
Stenographer Pierre Franckh
Running time -- 114 minutes
No MPAA Rating...
Based on transcripts of a six-week psychiatric evaluation of Fritz Haarmann--who was accused in 1924 of seducing and then killing more than 20 young men--Romuald Karmakar's debut feature is an actor's showcase, with the spotlight falling heavily on lead Gotz George.
Grubby and yet manipulative, cracked World War I veteran Haarmann is a sympathetic monster (he was the model for the Peter Lorre character in Fritz Lang's "M"). The setting is one unadorned room and the action is limited to a few theatrical gestures. In the course of a dozen or so long dialogue scenes the life story and warped perspective of a psychotic, yet oddly lucid killer unfolds.
Although he jokes constantly and admits to the killings, Haarmann shows some remorse. In one long wrenching series of questions and answers, we learn of his early homosexual experiences. He also hated his stern, unloving father. But the interviewee is also evasive and playful, quoting the scriptures and anticipating his own execution.
When the questioning of the dapper, shocked Dr. Schultze (Jurgen Hentsch) turns to why Haarmann chopped up all the bodies and how he disposed of all the parts, one becomes mighty uncomfortable. There are no flashbacks or re-enactments of the grisly slayings, but the material is incredibly graphic nonetheless.
The actors, thankfully, are superb, including Pierre Franckh as the silent stenographer, reacting to the undeniably charismatic Haarmann through furtive glances and body language. Hentsch is outstanding as the questioner who leads the deranged Haarmann into many stark revelations.
At nearly two hours, the film is exhausting, bitter medicine. But to see the amazing George, who won the best actor award at the 1995 Venice Film Festival, is the reward awaiting those who make the effort.
THE DEATHMAKER
(DER TOTMACHER)
Pantera Film
Director Romuald Karmakar
Producer Thomas Schuhly
Writers Romuald Karmakar, Michael Farin
Director of photography Fred Schuler
Editor Peter Przygodda
Production designer Toni Ludi
Color/stereo
Cast:
Fritz Haarmann Gotz George
Dr. Ernst Schultze Jurgen Hentsch
Stenographer Pierre Franckh
Running time -- 114 minutes
No MPAA Rating...
- 1/14/1997
- The Hollywood Reporter - Movie News
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