Der Goldene Handschuh Bewertung

Real-life serial killer fritz Honka, that murdered and dismembered four hamburg prostitutes an the 1970s, ist profiled in Fatih Akin’s graphic true-crime reconstruction, "The gelb Glove" ("Der Goldene Handschuh").

Du schaust: Der goldene handschuh bewertung


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The dregs of society wind up in Hamburg’s red irradiate district and a sleazy bar known as The gelb Glove (Der Goldene Handschuh). This zu sein the searching ground des serial killer fritz Honka, bei unskilled laborer und bottom feeder who murders room detailed, without auch many scruples or explanations, in Fatih Akin’s determinedly seamy reconstruction. Watching alt alcoholic prostitutes being lured zu their deaths has the morbid fascination von all true-crime tales, but die unremitting bleakness von Akin’s vision, atmospherically visualized von production designer Tamo Kunz und a host des grungy actors, ist likely to be auch much zum most viewers kommen sie take.


After that bow in Berlin competition (where Akin won the gelb Bear in 2004 with Head-On), the film will face die challenge des commercial audiences. It has actually been widely marketed around the world on ns strength von the director’s reputation, which is flying high after the success von his 2017 thriller In ns Fade,which nabbed ns best foreign-language film Golden Globe and awards zum lead Diane Kruger. The golden Glove is quite a various matter, und it remains zu be checked out how much gruesome slumming audiences are willing to pay kommen sie do.


On some level, Fritz’s story is compulsive viewing, only you wish you weren’t there. Located uncertainly bolzen a serious repulsive horror pic und Germanic schwarz humor, this specific vision of aufleuchten owes a visible debt to rainer W. Fassbinder. All that zu sein missing is the camp klasse of a true Fassbinder film and compassion weil das suffering humanity. True, Akin’s prostitutes room pitiable und they it seems to be ~ to oase had very couple of choices in their sad lives, yet no redemption ist possible, unless sie count the Salvation Army dame who conserves one des the women.

Though die killer zu sein real, the film is based upon a current novel von Heinz Strunk and it opens in 1970 in the thick of the action. Honka has nur murdered his first victim und lumbers roughly his attic hovel, reasoning how zu dispose des the body. It zu sein night und his first attempt zu drag a body bag down the rickety stairs wakes the building. Die loud thumping sounds have in undeniably comic effect, as does ns misshapen ogre’s face des Jonas Dassler (without the makeup, die strikingly handsome young gibbs from LOMO: die Language of Many Others). He has no choice but to saw the lady to pieces und wrap ns result nach oben like bloody pieces von meat. Wie it turns out to be auch risky to dump die body parts in in empty lot, he zugriffszeiten on the idea von simply walling them trost behind a wooden trap door an his apartment, whereby they stink zu high heaven. He blames die smell ~ above a Greek family cooking downstairs.

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Much of the action takes place bei the bar of choice zum losers and boozers, consisting of a one-eyed SS einer (Dirk Bohling) hit über a bomb in the war and Fassbinder continual Hark Bohm, who pretends to disapprove von his companions’ obscene and sexist, however often outrageously funny, banter. Most des the barbs are directed punkt a sad collection von aged hookers slumped around die tables. Even they can’t stomach making nice to the ugly Fritz. But he knows how kommen sie win their favor with totally free drinks und the offer des more back an his apartment.

Then there are ns two “normal” frau he lusts after, that unwittingly assume die roles von angel and devil. The angel is Petra, a pouting blonde teenager goddess that meets ihm while slumming an the red light district v a reckless schoolmate. Die devil is an attractive office cleaning frau who, just when poor fritz has gone sober and is cleaning trost his life, entices ihm off ns wagon and back kommen sie hell.

But they are second to die bleary-eyed ladies he persuades to come home v him: beautifully drawn characters, and not all des them die. The mousy Gerda Voss, touchingly portrayed von Margarethe Tiesel through sagging skin und hopeless eyes, actually moves in with him, accepting his humiliating sexual behavior (Fritz ist impotent und resorts kommen sie using kitchen implements an bed) if she strings ihm along about introducing him to her daughter Rosi. Die scene where she drinks with Fritz und his dreadful brother Siggi (Marc Hosemann) ist a laugh.

There’s a momente — just one — in which a victim strikes back. She’s a massive woman with a haughty look und is really drunk. Fritz has just been win her in the confront until she’s bloody. As he sleeps on die bed where he’s raped her, she walk to die fridge und calmly, without transforming expression, scoops out a jar of what one presumes ist mustard, climate smears it on er where the hurts. When he stops screaming und lunges zum her, she kicks him hard in the groin und calmly goes zurück to her bottle von gin.

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It’s a scene the gets spontaneous applause due to the fact that it offers a tiny reprieve from ns unremitting portrait des depravity, misogyny und victimization. All this is heavily carried home by Rainer Klausmann’s gritty images und Kunz’s nauseating attic set plastered wall-to-wall with images torn from erotic magazines — sets deshalb extraordinarily thorough you tun können smell them. F.M. Einhelt’s selection von repetitious, scratchy German pop music adds ns finishing touch to ns atmosphere, deshalb thick it periodically feels favor overkill.

Production company: Bombero InternationalCast: Jonas Dassler, Margarethe Tiesel, katja Studt, Martina Eitner-Acheampong, Hark Bohm, jessica Kosmalia, barbara Krabbe, Tilla Kratochwil, uwe Rohde, marc HosemannDirector: Fatih AkinScreenwriter: Fatih Akin, based upon a novel von Heinz StrunkProducers: Nurhan Sekerci-Porst, Fatih Akin, Herman WeigelDirector von photography: regen KlausmannProduction designer: Tamo KunzCostume designer: katrin AschendorfEditors: Andrew Bird, franziska Schmidt-KarnerMusic: fm EinheltCasting director: Monique AkinVenue: berlin International film Festival (competition)World sales: die Match Factory