Die Stille nach dem Schuß (2000)

Calificación de los usuarios:

6.9/10   

Director:

Volker Schlöndorff

Escritores:

Wolfgang Kohlhaase (writer)
Volker Schlöndorff (writer)

Fecha de Lanzamiento:

14 septiembre 2000 (Alemania)

Género:

Drama | Historia | Romance

Plot:

Rita Vogt is a radical West German terrorist who abandons the revolution and settles in East Germany...

Plot Keywords:

East Germany | Germany | New Identity | Vietnam | Sex On The Beach

Premios:

4 wins & 5 nominations

Comentarios de los usuarios:

Fascinating subject, but emotionally flat

Reparto

Bibiana Beglau	...	Rita Vogt
Martin Wuttke	...	Erwin Hull
Nadja Uhl	...	Tatjana
Harald Schrott	...	Andreas 'Andi' Klein
Alexander Beyer	...	Jochen Pettka
Jenny Schilly	...	Friederike Adebach (as Jenny Schily)
Mario Irrek	...	Joachim Klatte
Franca Kastein	...	Anna
Thomas Arnold	...	Gerngross
Dietrich Körner	...	General
Rudolf Donath	...	Tatjanas Vater
Monika Pietsch	...	Tatjanas Mutter
Matthias Wien	...	Doktor Gruber (as Matti Wien)
Petra Ehlert	...	Beate
Hannelore Schubert	...	Christa

También conocida como:

Legend of Rita (USA)
Rita's Legends (International: English title)
The Legends of Rita (International: English title)
El silencio tras el disparo (Spain) [es]

Duración:

103 min

País:

Alemania

Idioma:

Alemán | Francés | Inglés

Color:

Color

Relación de Aspecto:

1.85 : 1

Sonido:

Dolby Digital

Clasificación:

Iceland:12 | France:U | Germany:12 (bw) | Hong Kong:IIB | South Korea:12

Locaciones de Filmación:

Baltic Sea

Compañía:

ARTE

Conexiones de Película:

References Viva Maria! (1965)

Banda de Sonido:

Street Fighting Man

Fascinating subject, but emotionally flat

Maybe it's the cultural specificity of the piece, but somehow Volker Schlondorff's "The Legends of Rita" fails to hit the right emotional chords, where essentially the film's humanism-over-politics thematics want to evoke in the audience. Don't get me wrong, "Rita" is an excellently crafted film, subtle and never forceful. The film succeeds above and beyond expectations in its depiction of the latter years of the GDR, portraying an ideologically bankrupt nation whose environments and inhabitants seem to be caught in a state of limbo. Perhaps Schlondorff's acquiring of the former DEFA (and UFA before it) Babelsburg studios is the main reason for the authenticity of his vision of the former East. As well, this is a departure from the realm of fantasy that Schlondorff had probed history within in such works as "The Ogre" and "The Tin Drum." Instead, as with Bertolucci's "Besieged," the director has returned to his roots in filmmaking and provided a once-again fresh, verité aesthetic. This could very well be a companion piece to "The Lost Honour of Katharina Blum," although, as I mentioned earlier, the emotions fall flat here, failing to deliver an ultimate, devastating "punch."