Jonas (Ottomar Domnick, 1957) DVDRip VOSAl

V · Mensaje por V » Dom 16 Ene, 2011 15:58

Desde karagarga:

Jonas
(Ottomar Domnick, 1957)

The lonely man in a big city: With "Jonas" (1957) Domnick writes movie history!

Imagen

IMDb | Domnick.de

Idioma
Alemán

Música
Duke Ellington
Winfried Zillig

Reparto
Jonas . . . . . Robert Graf
Nanni . . . . . Elisabeth Bohaty
Stranger . . . . . Willy Reichman

[quote="Hans Magnus Enzensberger in the prologue to Jonas"]In this city/in its ruins/its huge shopping carts/
between signals and machines/no gods live in this city/and no heroes.

The city slumbers.

Many sleep its chambers/they sleep in their cells/in the skeleton of steel/they sleep behind the ciphers/and the facades/only stirring in the cellars/sleepless/the machines.

The city is empty/it has no trees/and no laughter/it is extinct/with morning breaks.

When morning breaks/and you’re searching for someone/anyone/a man by the name of Jonas/between the signs and the fronts/you have to look behind the facades/behind the cold/sleeping brickshis world is nailed with characters, signs/the machines are running day and night/but Jonas/Jonas is standing at the window/whichever one/some window/and greets the morning.[/quote]
[quote]Ottomar Domnick's experimental feature film is a portrait of the print shop employee Jonas who lives in a large city and suffers from feelings of guilt and fear for his existence. When he finds a hat that bears the initials of a friend that he left during the war when he fled from a detention camp, his sense of guilt becomes a severe paranoia. Beset with inner voices, Jonas strays around the city feeling cornered by the city's high-rises. Even his girlfriend Nanni cannot free him from the agonizing conflict between his past and the present. In his review in "Filmkritik", Ulrich Gregor remarked that this film "offers more arguments for discussion then all other movie productions of that year in total."[/quote]

Ottomar Domnick (1907–1989)

...has been specialised in neurology and psychiatry with an own hospital in Stuttgart/Germany.

He was accomplished as one of the most active collectors and supporters of contemporary arts in Germany after WW II. He was author and director of several films, supported contemporary films. He played Cello and organised events with works of contemporanean music.

Fuente: http://www.doctorshobbies.com

Experimental 'Jonas'
Howard Thompson

THE most appealing thing about "Jonas," a Freudian-minded experimental film from Germany, is an indirect warning: think twice before swiping somebody else's hat. Otherwise, this import goes on to demonstrate, such a blunderer will start sneaking around town, hearing strange voices, having hallucinations, brooding about a remote incident in the past and finally laughing maniacally in front of a mirror. Yes, in a hat store—where else? And this, intones a narrator after eighty-one interminable minutes, is a latter-day Jonah, or Everyman.

In a nutshell, quite literally, that's the gist of what went on yesterday at the Fifty-fifth Street Playhouse, where this President Films release hung its hat. The picture was written, directed and produced by a psychiatrist, Dr. Ottomar Domnick, as his first feature undertaking. To dubbed English, most of it narrated, by James Benjamin, credited as the "adapter," and a jazzy score by Duke Ellington, a self-conscious, fitfully arresting camera trails a few non-professional actors around a shadowy metropolis. According to the ads, the import has won eight European film prizes. Whoever can watch it without squirming deserves the ninth.

Be that as it may, it takes forever to find out what Dr. Domnick and his equally mysterious hero are really up to. In fact the two purring, sniggering philosophers who spiel the narration sound in need of psychiatric counsel themselves. Clouded by this yammering and some murky photography, the first half obscurely pantomimes the loneliness of an urban printing worker, played by Robert Graf.

At long last, Dr. Domnick puts his cards on the table, after some anvil hinting about the "guilt" of the hero. "Get rid of that cap," Jonas urges the sound track, for once making sense. "Get a hat," Mr. Graf helps himself in a crowded restaurant.

Obliquely and typically, two brief flashbacks are needed to link the initialed Homburg to a concentration camp internee whom Mr. Graf had left mortally wounded during an escape years before. The picture then pounds away at the hero's guilt, likening him to a conscience-stricken Jonah through Scriptural utterances. As for that escape "cowardice," this viewer will bet that Drs. Domnick and Freud, both, also would have taken to their heels.

Elisabeth Bohaty, as a sweet comforter, and Willy Reichman, as the beetle-browed hat owner, wander in and out. Mr. Graf is just as self-conscious, but his unneurotic appearance knocks a hole in Dr. Domnick's film case. He simply looks like a steady-eyed bachelor who enjoys watching the pretty girls go by (and does once).

Dr. Domnick has cluttered his misguided import with Jonah-like symbolism, excluding the whale. Here, finally, is a picture that could use one.

Fuente: http://nytimes.com

The Cinematic Kidney-Shaped Table

A German film provides ample material for discussion amongst the critics: Ottomar Domnick’s Jonas, an aesthetically and in terms of narration unique film. For some it’s an unwieldy monolith in the landscape of German film, for others outdated avant-garde: in his review, Rolf Becker calls the film “Arrière-gardism”. Today Jonas can be considered a forerunner of the German auteur films of the 1960s and 1970s. At any rate, the film is an initial sign that selection policies of the Berlinale are getting more daring with regards to German cinema. And yet the festival management is still afraid of its own courage: Jonas is presented to the audience with an explanatory lecture. It is also felt that the press must by prepared for the “difficult” film with a special press conference.

Fuente: http://www.berlinale.de

The Hatter (John Tenniel, 1865)

Fear and Desolation of Postwar Germany
Mary Anderson

The young Federal Republic of Germany in the mid-1950s: within the ambivalent atmosphere between the unresolved traumas of postwar rearmament and economic miracle lives of factory workers Jonas (Robert Earl), a lodger in a small room in Stuttgart. In his spare time, the quiet loner roams aimlessly through the streets of the city, from volatile impulses and “notably his inner voice and driven, which mixes the banalities of his experience with fragments of social slogans. When Jonas decides to invest a good part of his week’s wages in a hat, he met on this occasion, the young saleswoman Nanni (Elizabeth Bohaty). But shortly afterwards it will be the new, impressive headdress stolen in a restaurant, after which Jonah can go there, turn a hat that has the initials MS – the same of an old friend from the war days, the Jonas feels toward a nagging guilt. This apparent randomness causes painful post-traumatic processes for increasing the bewildered man, feels the refuge for a little while in the vicinity to also be incredibly lonely appearing Nanni, with which he wanders after a bye through the evening city. But the young woman soon overwhelmed with the confusing mood of her companion, whose repressed fears so gradual as to be unstoppable in the disintegrating consciousness pushing …

Jonas of the German film maker, art collector and psychiatrist Ottomar Domnick (1907-1989 ) from the year 1957 in his artistic black and staging an absolutely extraordinary and deeply moving film about a deeply unremarkable at first, misanthropic man who has long since retreated as far as possible from the social territory. The lost creature which is flanked by the majestic music of Duke Ellington and Winfried Zillig in the increasingly hostile perceived anonymity of urban space on the road, reflects the superficial dubbed the displacement of a strife-torn society, their desire for cultural identity, which opened channels a “foreseeable consumerism redirects.

In addition to the few, sparse dialogue that is explicitly taking place exclusively between Jonah and Nannie, it primarily the isolated universe of thought of the sad hero, which dominates the dramaturgy of Jonah and the ever growing chasm between his inner experience and the so – designated external reality is manifested, which is quickly trying to distance themselves from such an energetically disturbed and disturbing individuals, as illustrated here, the police as a representative of the state. The complex bribe comments this inner voice, through their multi-layered, again and again varied linguistic constructions that are caught up in circuits to associations that have been crafted by Hans Magnus Enzensberger, who participated in this way masterfully on the script. Nominated at the Berlin International Film Festival 1957 for the Golden Bear and won silver in the film strip in the categories Best Cinematography and Best Music Jonas is a thoroughly unorthodox, provocative, and, clearly humanist-oriented cinematic gem dar. The movie will appear within moments of the edition of the German film, which was compiled by the film editor of the Frankfurter Allgemeine Zeitung. About the social-relevance of its date, this work also with its impressive, artistically created images of the camera from Andor Barsys a temporarily unbound, untamed piece about the power of traumatic human despair that is turned inward anempfiehlt lack of facilitation of self-destructive despair. The open end points out that even under these circumstances, it can lead a more or less functional existence that can be described but only with cynical undertones as life.

Fuente: http://movietex.net

The Aesthetics of Transformation. On Filmic Boundlessness of Space
Laura Frahm

Film transforms the visible, audible world into a specific kind of spatiality. It creates genuine spaces of transformation that develop beyond spatial co-ordinates or, more precisely, into one in which the dimensions of concrete, gaugeable space no longer apply. Film opens up a spatial realm in which the transformative, the animated and the dynamic form the starting point of all spatial thinking. Space is questioned once more through film; it becomes an unstable, alterable factor, therefore underlying the process of its own and visible boundlessness and transformation. Using the avant-garde film Jonas (Ottomar Domnick, Germany 1957) as an example, the lecture will challenge this illimitable and transformative dynamic space, generated by and inherent in film.

[imgr]http://img263.imageshack.us/img263/9236 ... theman.jpg[/imgr]
The Hat Makes the Man (Max Ernst, 1920)

Karl Korn

Photographically speaking, the film has the coldness of a newsreel. It is remarkable what the direction and camera have accomplished in terms of alienating the surroundings. Every take has Stuttgart in the background; and yet it is a Stuttgart as Kafka would have depicted it, technically abstract, a city built from the elements of this century: concrete, corridors flooded with cold neon light, horizontal bracing wires, peeling facades from shabby rental houses, tracks, bridges, staircases, provincial corners in which the past molds and ferments, a desert of debris, construction sites, cranes, steel frameworks. Like the fleeing Jonas, the film escapes all attempts at interpretation that might come from a so-called traditional resolution.

Fuente: http://www.projects-artandtheory.de

Otra referencia

HEINSOHN, BASTIAN: «Beyond the Heimatfilm genre: Criticizing the 1950s urban reconstruction in Germany in Ottomar Domnick's Jonas (1957)». En: Cultural Perspectives on Film, Literature, and Language: Selected Proceedings of the 19th Southeast Conference on Foreign Languages, Literatures, and Film, pp. 145-162. 2010. Disponible parcialmente en: Google Books.

Datos técnicos

Código: Seleccionar todo

File Name .........................................: Jonas (Ottomar Domnick, 1957) DVDRip LIMITED.avi
File Size (in bytes) ............................: 1,467,598,238 bytes
Runtime ............................................: 1:21:06

Video Codec ...................................: XviD 1.1.2 Final
Frame Size ......................................: 656x512 (AR: 1.281)
FPS .................................................: 25.000
Video Bitrate ...................................: 2178 kb/s
Bits per Pixel ...................................: 0.259 bpp
B-VOP, N-VOP, QPel, GMC.............: [], [], [], []

Audio Codec ...................................: 0x2000 (Dolby AC3) AC3
Sample Rate ...................................: 48000 Hz
Audio Bitrate ...................................: 224 kb/s [2 channel(s)] CBR
No. of audio streams .......................: 1

Capturas