By miracle survived and officially considered as the lost Nellie should pass a long rehabilitation course and treatments – her face is spoiled. In hospital the Jewish girlfriend who after the end of war is engaged in that suits life of the survived prisoners of concentration camps cares of the woman, she prepares moving to Palestine for Nellie and helps to issue the rights to inheritance of victims native. But Nellie cannot think of anything other, except as about the husband Yokhannes to some extent guilty of arrest of the woman. She still loves the Johnny and the spouse on fragments of post-war Berlin searches. That does not believe in revival of the wife, but decides to use some similarity of the mysterious stranger to the Nellie to receive due to those in bank money.
Christian Pettsold chose as a subject of the following picture the last days lives and Adolf Hitler’s suicide
The Russian viewer is not too well familiar with modern German directors, the usual circle of pictures shown in our hire becomes isolated on the become world-famous Tom Tykwer and, on the contrary, Thiele Schweiger loved, apparently, only at us. Meanwhile after a bezvremenye of the end of the last century in Germany quite serious current which has received the name «Berlin school», including a little enough interesting the names which created own language and styles in a new century and have already broken through in the top lines of interesant of large film festivals was created. Christian Pettsold is on the crest of this wave – his previous "Barbara" marked out on the Berlinale, and "Phoenix" with open arms met on several other film festivals.
On a photo which the doctor uses for recovery of the person of Nellie, the American actress and Hedy Lamarr’s izobretatelnitsa is represented well-known Austrian, and then
The interested Pettsold’s creativity will remember that earlier the director in a bigger measure devoted the works to contemporaries – his films told about Germans of day today’s, about problems of the society surrounding the director and his relatives. For sharp creative statements Pettsold was repeatedly betrayed obstructions from the most different political and public forces. Let’s not begin to argue that pressure took effect, but the director replaced the work direction – his new films are focused on history of Germany, heavy, times shameful, but always full of bright characters and situations. If previous "Barbara" told about times of GDR, with its Stasi and the atmosphere of general depression, "Phoenix" throws the viewer in Berlin of 1945 broken by bombs where after war life starts to come back.
It would seem, the mix from post-war ruin, kontslagerny horror, fresh wounds of a Holocaust and simple human love should pour out in an emotional bomb, but "Phoenix", alas, revolves. Pettsold undertakes беллетризовать, to give any chic and even a glamour to one of the most terrible times in the history of the country. It is expressed not in bright paints or dresses, no. Simply it is very difficult to collect from film scenes the objective picture – here and committing excesses American soldiers, and living in the fine apartment with servants the Jew, and a country mansion which war it seems and did not concern absolutely. The author concerns sore points very accurately – the horror that is covered with a gauze bandage on a face, hides in a shadow of the destroyed by bombing house, looks through in several figures of kontslagerny number on a hand of the main character. There is a feeling that the director did not find words to express the unequivocal relation to the chosen subject, however, possibly, this innuendo will help the audience to make the picture of post-military life of Germans.
Other usual explanation for similar tapes: war and a Holocaust – only a background for the human relations. Here too it is difficult to speak about unambiguity. To some extent even it is difficult to define a genre of a picture, "Phoenix" rushes about from нуара to the doubtful romantic comedy, jumps on a detective that in the ending to burst in a deafening drama scene. Here only to believe that the loving spouse could not recognize the wife let even spoiled, and Nellie could not (and did not want) to convince Johnny of reality of the return, it is resolutely impossible. Such course could work in more thoughtless genre, but not in so painful environment. Certainly, Pettsold constantly forces tension a mention of nazis, stories of difficult years of the Jewish genocide, even everyday life of the protagonists huddling in a podvalchik of the escaped house. But all this dead a poultice against very weak main idea. Yes, the love is capable of a lot of things, the loving person can forgive practically everything, the love really revives the person from ashes, as header Phoenix. But seriously to perceive these beautiful words in a picture it is very difficult, after all the main line does not allow to be in earnest about the events in a shot.