Wolz – Life and Transfiguration of a German Anarchist

Mohsen4.5

فیلم «ولز – زندگی و دگرگونی یک آنارشیست آلمانی»، ساخته‌ی گونتر رایش در سال ۱۹۷۳، روایتی ‌ست از سرگذشت یکی از چهره‌های کمترشناخته‌ شده، اما تأثیرگذار جنبش انقلابی آلمان در اوایل قرن بیستم. این فیلم محصول جمهوری دموکراتیک آلمان (آلمان شرقی) است و در بستر تاریخی پس از جنگ جهانی اول و انقلاب نوامبر ۱۹۱۸ می‌گذرد.رایش در این اثر با بهره‌گیری از نگاهی ایدئولوژیک، به بررسی فرآیند رادیکالیزه شدن فردی به نام ولز می‌پردازد که در پی بحران‌های اجتماعی، فقر، و فروپاشی ارزش‌های بورژوایی، به سوی آنارشیسم گرایش می‌یابد. فیلم نه‌ تنها بازتابی از دگرگونی درونی قهرمان است، بلکه تصویری از کشمکش‌های سیاسی و طبقاتی دوران خود ارائه می‌دهد.از نظر فرمی، فیلم با زبانی واقع‌گرایانه و گاه با لحنی شاعرانه، تقابل میان آرمان‌گرایی فردی و ساختارهای سرکوب‌گر اجتماعی را به تصویر می‌کشد. در این میان، موسیقی، بازی‌ها، و طراحی صحنه همگی در خدمت ترسیم فضایی تاریخی-ایدئولوژیک هستند که در آن، سرنوشت شخصیت‌ها با سرنوشت طبقات گره خورده است.ولز، بیش از آنکه تنها یک فیلم زندگی‌نامه‌ای باشد، تلاشی‌ست برای بازسازی حافظه‌ی تاریخی از منظر سوسیالیستی. نگاهی که در سینمای آلمان شرقی، به‌ویژه در دهه‌ی ۱۹۷۰، به شکل پررنگی حضور دارد.

Mason W3.0

The romp of a song that accompanies the revolutionary insurrection makes this pretty silly and light hearted from the start. Of course, Wolz is lucky that it doesn’t end up worse for him and his comrades.Is he an anarchist? Probably not, but he is the archetype for hot headed revolutionaries that scorn study and patience. Wolz is the stubborn revolutionary subject without an objective revolutionary situation. I think this is further evidenced by the source material not being the actions of an anarchist.And in a way, he is like the mirror image of the protagonists of La Chinoise. He has a connection to the masses without an understanding of revolution; they have studied revolution with total disconnection from the masses. But, they rotate on the same axis of revolutionary fervor.And it would seem, even though the story is based more closely on the autobiography of Max Hoelz, that Reisch has some aspects of Karl Liebknecht in mind. Liebknecht of course being the subject of two other films by the director.Be like Wolz in indignation towards the cruelty of capitalism, but take seriously the project of replacing it with socialism.

Emma Fogarty✝️☮️

Regimantas Adomaitis stars in a 100 minute drama directed by Günter Reisch, about an anarchist bandit's activities in early 20th century Europe.Reisch's Liebneckt biopics have more of a talky narrative, which I like in my political films, Woltz didn't really fall in with those expectations I had but I really liked this alot. My father would call characters like the lead here, adventurers and to an extent this film understands this protagonist while also criticizing him.At first you're there, enjoying what looks like an adventure bandit movie, maybe with some irony , following kraut Robin Hood, you get used to this and the soundtrack is in on the trip.Reisch flips the switches in a distinct different second half, big adventurer man doesn't do so well in jail , things are alot bleaker but the story of the wild adventurer is subverted and the pulpy fun and games of Red political bicyclists is over , he's only useful up to a certain point , no-one needs the adventurer in a world where you have to be more organized.This is used to also show who political infighting comes out and ultimately both sides splitting, are going to be devoured by Hitler's gang when the Nazis get going. The central relationship drama is perfectly fitted in with a plan later on in the film and also the advances and political changing frame/makeup of the society the characters are within.Additionally it seemed as if Reisch had more open arms to his audience in terms of accessibility than this then contemporaries.It ought to be more well known.