Imagine the bottom of society. The slippers, those without existence, those who cling to life with the help of at most one pair of glasses, but they only drank the milk. Then we try to force ourselves and go deeper into thinking, imagine a naughty, a deviant person who is trapped outside society. Whatever we imagine, Fritz Honka, the leading actor of Der goldene Handschuh (The Golden Glove) is deep down.
There is something like a rotten vegetable in the place of her nose, her eyes literally not good, her hair is greasy, her face shines, her back is hunched, her teeth are rushed. There is a face of the German actress Jonas Dassler, thanks to professional make-up, that when I see in a newspaper, I always notice which side I should not read anymore.
Honka really existed, was really murdered and really hid the chipped pieces of strangled prostitutes in the corner of his apartment, as we see at the beginning of the film. In the seventies we are in Hamburg and I think Honka is only due to the wonder of Wunderbaum that he has not fallen for years. And finding people who are even weaker in German society: vulnerable, older women.
However, it is a mystery for the time that director Fatih Akin (versus Fall in the Dark) has found this theme for himself, and why he did not think he would show anything else, besides the horrible dislike of the lion's share of Der goldene Handschuh . Honka's entire apartment resembles the toilet of Trainspotting or a random crime scene from the seventh. Your offerings come from the knife thrower in the title, where people have the nickname SS Norbert and Anus and where they pull the curtain, so that no one can see what time it is because the owner says that the guests do not drink when the sun shines.
The scenes in the awesome knives shooter – as Honka is looking for her next victim – are the best, because she really returns without any chatting what she might have entered at a dirty spot where it was barely two feet from the smoke to see . (The index also contained images of Klaus Pichler's lobby in Vienna, whose aesthetic is reflected in this film.)
But this is only a small footnote at all, because Akin did not feel the desire to become familiar with the context, as we say, Sopsits Árpád. Science stops here, however, and the director focuses more on scenes – long settings, sometimes with technical delights – when Honka kills, violates or fades. And Fatih Akin will not show off the spotted clothes, the tangled panties and the catwalk that covers every part of the man's apartment. Sometimes I felt like I was browsing through the shocking pages of the internet, sometimes as if someone was trying to provoke decades ago.
But in two hours I did not know what we were doing. Who is good to have done Der goldene Handschuh, and especially. He does not commemorate the victims, because he proposes them to those who almost voluntarily fall into the trap of Honka. He does not remember the man, because he depicts a pond under a stone, of which the most serious beast comes under the influence of schnapps. And he does not remember the age, because we know nothing but a few cases of notes. It does not commemorate the city, which most closely resembles a moral dungeon. And in no way remember other powerful serial killer films, because Akin is anything but a good director, so he can approach classic bones like Henry's A Serial Assassin.
Der goldene Handschuh is the most stylistic practice of a director who does not go so far as to be a blank co-worker, and not in the least a documentary presentation of a shame about German history. And let's not have to deal with a bang in 2019, the most of which is in l & # 39; art pour l & # 39; art brutal treatment of women.
The film will also be presented in Hungary in 2019.
Thank you for reading us!
If it is important for you to maintain an independent press, support the Index!