{"id":3886,"date":"2018-01-16T17:30:57","date_gmt":"2018-01-16T17:30:57","guid":{"rendered":"https:\/\/travelingboy.com\/travel\/?p=3886"},"modified":"2018-02-17T15:00:18","modified_gmt":"2018-02-17T15:00:18","slug":"young-torless-look-back","status":"publish","type":"post","link":"https:\/\/travelingboy.com\/travel\/young-torless-look-back\/","title":{"rendered":"Young T\u00f6rless \u2013 A Look Back"},"content":{"rendered":"

\"YoungDirector:<\/strong> Volker Schl\u00f6ndorff<\/a><\/p>\n

Based on the novel by Robert Musil <\/a><\/p>\n

Writers<\/strong>: Herbert Asmodi <\/a>(Adaptation), Volker Schl\u00f6ndorff<\/a> (Screenplay)<\/p>\n

Cinematography: <\/strong>Franz Rath<\/a><\/p>\n

Cast: <\/strong>Mathieu Carri\u00e8re<\/a>, Marian Seidowsky<\/a>, Lotte Ledl<\/a><\/p>\n

Young T\u00f6rless<\/em><\/h2>\n

By Walt Mundkowsky<\/em><\/p>\n

Volker Schl\u00f6ndorff\u2019s Young T\u00f6rless<\/em><\/strong>, which shared the FIPRESCI (International Critics) Prize at the 1966 Cannes Film Festival with Resnais\u2019 La guerre est finie<\/em><\/strong>, has finally arrived here, and it emerges as a strange, hypnotic work with deep implications. This is Schl\u00f6ndorff\u2019s first film, but he has worked as assistant to Louis Malle (on Zazie<\/em><\/strong>, Private Life<\/em><\/strong>, The Fire Within<\/em><\/strong> and Viva Maria<\/em><\/strong>), Resnais (on Marienbad<\/em><\/strong>), Jean-Pierre Melville (on Le doulos<\/em><\/strong>, a crime thriller with Belmondo), and Antonioni; he has learned well from all of them.<\/p>\n

\"Mathieu<\/p>\n

We begin at a boarding school in pre-W.W. I Germany. T\u00f6rless (Mathieu Carri\u00e8re) is an aloof, sensitive young aristocrat. (\u201cI wish my son were more like you,\u201d his father tells one of the other boys. \u201cI don\u2019t know what to make of him.\u201d) The sadistic urges of the students are apparent from the start \u2014 a boy slowly killing a fly with his fountain pen during class. Some of the boys break up the monotony of their routine with visits to Bozena (Barbara Steele), a prostitute with a child. She sees the school as a miniature society, embodying all the evil of the world outside. (\u201cEveryone was so nice to me \u2014 until they saw I was pregnant.\u201d She tells T\u00f6rless and his friend, \u201cYou\u2019re exactly like they are: hypocrites \u2014 and liars.\u201d)<\/p>\n

T\u00f6rless is suddenly involved in a sickening episode. Basini (Marian Seidowsky) owes Reiting (Alfred Dietz) some money; he cannot pay it, so he steals from Beineberg (Bernd Tischer), a friend of T\u00f6rless. Reiting goes to Beineberg, but they do not report Basini; instead, he becomes their slave and guinea pig. At first T\u00f6rless is just as enthusiastic as the others (\u201cBasini is a thief and must be punished\u201d), but he soon realizes how vicious they are. \u201cIt\u2019s not the punishment that interests me,\u201d Beineberg admits. \u201cI\u2019d like to \u2014 let us say, terrify him.\u201d And later: \u201cI want to destroy these wasteful sentiments of mine.\u201d Basini is beaten and forced to repeat, \u201cI am a thief. I\u2019m a dog, a thieving dog, your thieving dog.\u201d T\u00f6rless cannot comprehend Basini\u2019s refusal to fight back. (\u201cDidn\u2019t you feel something awful happening inside you? When they spat on you, when they had you lick the floor \u2014\u201d)<\/p>\n

\"a<\/p>\n

The bouts of torture assume the guise of experiments. \u201cThere must be something that is more powerful than logic,\u201d Beineberg intones. \u201cI call that the \u2018soul.\u2019\u201d He puts Basini into a trance and tries to make his body float. T\u00f6rless can no longer watch impassively. (\u201cI was looking for something, but I see only brutality. There isn\u2019t a good world and an evil world. They\u2019re the same one. That\u2019s the whole story.\u201d)<\/p>\n

Basini does not go to the school authorities, even after T\u00f6rless warns him that Beineberg and Reiting plan to turn him over to the class. T\u00f6rless runs away after the student body vents its wrath on the hapless Basini. After seeing Bozena, he goes back to school as the incident is being investigated; the administrators interview him. In this beautifully photographed and edited sequence the film\u2019s intent becomes clear. Asked why he went along with Basini\u2019s torture, he replies, \u201cI don\u2019t know \u2014 at first it was all so unbelievable. Yes, it seemed to me that reason and logic weren\u2019t enough, that man isn\u2019t made for either good or evil. Then everything is possible \u2014 even the most horrible atrocities \u2026 what seems so inconceivable just happens.\u201d<\/p>\n

\"Marian<\/p>\n

It is decided that T\u00f6rless is \u201ca strange boy.\u201d He does not return to the school. The film ends on neatly modulated irony. T\u00f6rless is riding away from the school with his mother in the family carriage. But the school is a kind of metaphor for society \u2014 particularly the Nazi society to come. As William Golding wrote of the ending in his Lord of the Flies<\/em><\/strong>, \u201cThe officer, having interrupted a manhunt, prepares to take the children off the island in a cruiser which will presently be hunting its enemy in the same implacable way. And who will rescue the adult and his cruiser?\u201d<\/p>\n

Mathieu Carri\u00e8re has the right elegance and bearing for T\u00f6rless. Only 16 when it was shot, his delivery during the interrogation scene impresses \u2014 assured but not arrogant, passionate but not histrionic, both amazed and understanding. This young performer conveys the essence of nobility. He does not act superior, he is<\/em><\/strong> superior. Bernd Tischer and Alfred Dietz are gripping as two very different sadists. Only Marian Seidowsky (as Basini) fails to convince. The part isn\u2019t easy, but he makes no lasting dent. The smaller roles are capably handled.<\/p>\n

\"BarbaraBarbara Steele finds so much in the character of Bozena that she affects us even when not onscreen. Steele is much too beautiful for the part but she succeeds anyway, giving us Bozena\u2019s grit, cynicism, humor, openness, fragility \u2014 all of it. After her turn as the neurotic intellectual in Fellini\u2019s 8\u00bd<\/em><\/strong> and this, it is obvious that she can be much more than the horror icon (Mario Bava\u2019s Black Sunday<\/em><\/strong>, etc.).<\/p>\n

The direction is a model of economy; Schl\u00f6ndorff also wrote the screenplay. His years as an assistant director lend the film an unforced technical finesse. Franz Rath\u2019s austere black-and-white camerawork captures the harshness of setting and theme. Influences Schl\u00f6ndorff has assimilated make this movie stunning: the opening slow pan reminding one of Antonioni; tracking camera movements from Resnais; Malle\u2019s feeling for close-ups; classical positioning of actors \u00e0 la Melville and Resnais. But Schl\u00f6ndorff has welded these elements into a highly individual style. Hans Werner Henze\u2019s music is enormously helpful, imparting a density and force to the proceedings. It\u2019s tricky as well \u2014 modern 12-tone pages done on Renaissance instruments. Schl\u00f6ndorff was fortunate to engage him, as film scores (also Resnais\u2019 masterpiece Muriel<\/em><\/strong>) are but a tiny corner of Henze\u2019s output.<\/p>\n

The outcry against detachment is well-populated, but Young T\u00f6rless <\/em><\/strong>has a brainy eloquence that stands out. This barbed adaptation of a near-classic (Robert Musil\u2019s 1906 novel) leaves Schl\u00f6ndorff\u2019s future path open, but the unity of style and the skill with a mostly young cast can make one hopeful.<\/p>\n","protected":false},"excerpt":{"rendered":"

Volker Schl\u00f6ndorff\u2019s Young T\u00f6rless, which shared the FIPRESCI (International Critics) Prize at the 1966 Cannes Film Festival with Resnais\u2019 La guerre est finie, has finally arrived here, and it emerges as a strange, hypnotic work with deep implications.<\/p>\n","protected":false},"author":45,"featured_media":3883,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[117],"tags":[627,629,626,628,625,107,508,630,624],"class_list":["post-3886","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-time-capsule-cinema","tag-alfred-dietz","tag-barbara-steele","tag-bernd-tischer","tag-marian-seidowsky","tag-mathieu-carriere","tag-movie","tag-movie-review","tag-volker-schlondorff","tag-young-torless"],"yoast_head":"\nYoung T\u00f6rless \u2013 A Look Back<\/title>\n<meta name=\"description\" content=\"Volker Schl\u00f6ndorff\u2019s Young T\u00f6rless, which 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