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 Michael Kohlhaas (2013)

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One-Eye's One Eye

Posts : 393
Join date : 2012-05-26
Location : Germany

PostSubject: Michael Kohlhaas (2013)   Tue May 14, 2013 7:10 am

Our sweet Lisbeth Salander posted on her facebook wall a site with new pictures of Mads as Michael Kohlhaas. They are sooo great. I can't stop look at them!

On the site are big versions of the pictures and a pdf with informations about the movie.

Quote :
MICHAEL KOHLHAAS A film by Arnaud des Pallières


In the 16th century in the Cévennes, a horse dealer by the name of Michael Kohlhaas leads a happy and prosperous family life. When a lord treats him unjustly, this pious, upstanding man raises an army and puts the country to fire and sword in order to have his rights restored.

With Mads Mikkelsen, David Bennent, Paul Bartel, Bruno Ganz, Mélusine Mayance, David Kross, Sergi Lopez, Amira Casar, Denis Lavant, Roxane Duran, Delphine Chuillot, Jacques Nolot

  • DIRECTOR: Arnaud des Pallières
  • CAST: Mads Mikkelsen, David Bennent, Paul Bartel, Bruno Ganz, Mélusine Mayance, David Kross, Sergi Lopez, Amira Casar, Denis Lavant, Roxane Duran, Delphine Chuillot, Jacques Nolot
  • PRODUCERS: Les Films d'Ici - Serge Lalou
  • DURATION: 2h02
  • RELEASE DATE FRANCE: July 3, 2013
  • NATIONALITY: France, Germany
  • SCREENPLAY: Arnaud des Pallières et Christelle Berthevas

Source: filmdulosange

I wonder, when the release date for Germany is. I want to see it. He looks very amazing! I love you

I think, I have to make a new wallpaper! cheers

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One-Eye's One Eye

Posts : 393
Join date : 2012-05-26
Location : Germany

PostSubject: Re: Michael Kohlhaas (2013)   Wed May 15, 2013 2:24 am

Here are the news from the presskit:


In the 16th century in the Cévennes, a horse dealer by the name of Michael Kohlhaas leads a happy and prosperous family life.
When a lord treats him unjustly, this pious, upstanding man raises an army and puts the country to fire and sword in order to have his rights restored.


Where does the story of Michael Kohlhaas come from?

Michael Kohlhaas is a novella by Heinrich von Kleist based on the true story of a merchant who was treated unjustly by a nobleman and went on a bloody rampage through a German province in order to obtain redress. With its theme of a lone man taking on the whole of society, Michael Kohlhaas foreshadows an entire genre of modern fiction. Franz Kafka stated that Michael Kohlhaas was his favourite work of German literature and gave him his first urge to write!

How did you first discover the book?

I first read Michael Kohlhaas when I was 25. Right from the start, I could see it as a movie but I didn’t feel capable of making it. I was young and it looked like an expensive and complicated movie to produce. Also, I had three overwhelming models in my head: Herzog’s Aguirre, Kurosawa’s Seven Samurai and Tarkovsky’s Andrei Roublev. So I thought I should wait until I was older and more expert—which hasn’t happened.

Eventually, twenty-five years later, I figured that if I waited for a gift from heaven, I could easily end up not making the movie. And that somebody else would end up making it instead of me. So I went for it.

What excited you most about the story?

The character, obviously. His dignity, his dazzling bursts of energy. Reading Michael Kohlhaas is like tracking a fireball. But most of all, it’s the moment when, just as he is on the brink of overthrowing the whole country, he disbands his army and goes home. He agrees to become an ordinary man again, because he is suddenly granted what he has been demanding from the start: a judicial review of his lawsuit. This rigour, which is Kohlhaas’s trademark, bowled me over and still does. That a man should earn, through courage and determination, the chance to take power but then forego it for reasons of moral rectitude, I think is one of the greatest stories about politics that anyone can tell.

Your Michael Kohlhaas is described as being “freely adapted” from Kleist’s novella. What liberties have you taken with the original story?

The most obvious liberty I took is that it’s a German story. I love and admire German literature but I don’t know German. I wanted to shoot in French, so my only option was to Gallicize the story. And I wanted to preserve the characters’ connection with the beginnings of Protestantism, so the Cévennes area was an obvious choice of location as Catholics and Protestants shared that wild and beautiful region peacefully in the early 16th century. Another liberty I took was that Kleist’s novella has a rather fanciful subplot which didn’t fit in with the deliberate materialism of my film. Also, we developed several supporting roles in order to lift Kohlhaas out of his “heroic solitude”. His own daughter, the young preacher, Jérémie the farmhand, the onearmed convert, and others were invented from scratch. And lastly, the dialogues were entirely rewritten in a deliberately contemporary language.

Michael Kohlhaas is a story of its time, the Renaissance.

The story is set in the 16th century, on the dividing line between two periods of history. In the countryside, a small, impoverished aristocracy precariously clings on to feudal privileges passed down since the Middle Ages, while in the towns, a new world is taking shape. The townspeople are educated, often wealthy, but politically almost powerless. Three main characters clash with one another: the feudal, already somewhat spectral figure of the young nobleman who commits the injustice; Kohlhaas, a merchant with lawful rights, capable of rebelling when he suffers an injustice but limited by his individualism; and Jeremy, Kohlhaas’s young servant, whoforeshadows the revolutionary with the same utopian dreams of freedom and happiness that inspired the peasants’ revolts in France and Germany between 1520 and 1530.

The story strikes powerful chords in the world of today...

Michael Kohlhaas looks forward to our times with amazing foreknowledge. How does a respected merchant, loving husband and considerate father become a fanatic, a body filled with a single obsession? What power of death suddenly goes to work on this peaceful businessman who lived five centuries ago? These questions, unfortunately, contain many of our political anxieties about the world today.

Is Michael Kohlhaas a revolutionary?

Kohlhaas suffers an injustice and demands his rights, but society lets him down. He reacts by suddenly, brutally declaring war on society. He chooses the path of violence, with a razor-sharp sense of justice as his only moral guideline. Kohlhaas leads his band of men in acts of brutality with no political strategy. Obtaining redress is worth more to him than life itself—his own life or anyone else’s. His is a personal vendetta. He is not a revolutionary.

Would Kohlhaas be called a terrorist today?

Kohlhaas is an ordinary person who, in the name of justice, becomes the absolute enemy of a whole society. His relentless slogan—“I want my horses back the way they were”—displays his utter inability to compromise. So perhaps yes, Kohlhaas is a kind of terrorist. But I always remember the view taken by the German philosopher of law, Rudolf von Jhering, which was that Kohlhaas is a forerunner in the fight for the rule of law, a kind of pre-revolutionary taking up arms against entrenched privilege. For Jhering, it is unfair to accuse Kohlhaas of individualism because in standing up for our own rights, we are always standing up for other people’s. To Jhering, Kohlhaas is a “hero of the law” who sacrifices his life for an idea. Judging Kohlhaas is a complicated business.

What is your attitude to violence in your film?

Being a Romantic, Kleist was fascinated by violent characters and situations. Massacres, lootings and executions are described in the novella in much the same way as spectacular movies show them nowadays, where the violence is always frenetic and often quite lyrically dizzying. Fires and explosions always seem to be the ultimate symptom of this idealization, this spiritualization of violence. I preferred to treat violence more coldly—to show the fear, the pain, the fear of pain, and the attackers being as scared as those they attack, to bring out the true ugliness of violence in an age when treating wounds was difficult and relieving pain was impossible.

Michael Kohlhaas is a historical film. How did you handle the codes of the genre?

Historical films often suffer from a kind of academic stiffness, partly because they cost more to produce than contemporary films, but also because there is a fairly widespread fantasy that a historical film or “costume drama” should be more “arty”, and therefore more beautiful, than a modern drama. I wanted the sets and costumes to be unobtrusive, almost invisible, more suggestive than faithful reproductions. Similarly, in order to make this depiction of a corner of 16th-century Europe as lifelike as possible, to make it touch us more by the essence of its characters and their feelings than by the costumes and scenery they move around in, I wanted the cinematography and sound to be unsophisticated. I wanted to make a film that breathes in the present. A documentary about the 16th century.

What choices did you make in terms of set design?

With cost being an imperative, I always preferred outdoor locations, which are historically more accurate and also put the actors—and the audience— in a familiar contemporary environment, i.e. nature. Interior sets, no matter how minimally reconstructed, are never as natural: they always need to be dressed and lit. Whenever I could, I took scenes originally written for indoors and shot them outdoors. From early on, I wanted these outdoor locations to be mountainous, partly to guard against contamination by modernity, but also to reflect the nature of the character. If Kohlhass were a landscape, it
would be mountainous. Austere. Magnificent. Like Mads Mikkelsen’s face.

We chose the Cévennes and Vercors areas. The Vercors brings back memories of the French Resistance in WW2, and the Cévennes mountains connect with another kind of resistance which underlies Kleist’s story: the Reformation. Kohlhaas is a Protestant, a man who reads the Bible in French without the mediation of a clergyman, and has grasped the law so thoroughly that one day, he claims to be in the right against the whole of society.

How did you work on the costumes?

When I met Anina Diener, the costume designer, I told her to be inspired by the fashion in Germany depicted by Urs Graf and Holbein because it was more modern. Stylized, it would bring to mind a western. I didn’t want the costumes to stand out from the scenery. Anina Diener painstakingly dyed them in the same colours as the landscapes in which we were shooting. I also insisted on having costumes which made no noise. I wanted the audience to forget the period.

How soon did you know what sort of film you wanted to make?

I wanted to make a kind of western. A movie in which the story, the characters, their emotions, the way they fit into nature, and the presence of animals are what matters. Thanks to Kleist, I had a strong main character and a story with
the breadth of a legend. All I had to do was put life in front of the camera and tell the story without effects. Not too many preconceived ideas about the mise-en-scène or clever camera movements, no big ideas about sound… only what was necessary to bring the characters alive and tell the story. The choices of pictures are powerful.

How did you work with Jeanne Lapoirie?

Here too, a whole set of choices was involved, mostly for budgetary reasons, but I knew they would help towards a truly economical mise-en-scène. We worked light, with almost no grip and very little lighting equipment. Watching The Seven Samurai, we were struck by Kurosawa’s terse, dynamic use of panning shots. We made them the signature movement of our film. Other than that, we tried hard to shoot at the best times of day: dawn, dusk and twilight. Shooting outdoors in available light, the art is to make the best of the weather conditions. It is also important to try not to be too controlling.

A shadow, a reflection or a light loss can often be a miraculous accident. Jeanne and I liked to let luck play its part. The sun, the clouds, the wind, the mist are all worth treating as genuine contributors to the mise-en-scène.

Where did you get the idea of casting Mads Mikkelsen?

I couldn’t visualize any French actor playing the role of Kohlhaas. I was looking for a Clint Eastwood thirty years younger. I don’t think we have any of those in France.
One day Sarah Teper, the casting director, mentioned Mads Mikkelsen. I looked him up on the Internet and saw his face. How can I put it? At first I said no, I don’t think it’s a good idea for Kohlhaas to have such a—how can I put it? —face. So we went on searching for actors. English, Polish, Italian… Then this Danish actor’s name came up again. I discovered the Pusher trilogy and was blown away by his resourcefulness but I wasn’t sure he could play Kohlhaas, the God-fearing family man. Then I saw him play an ordinary man in After the Wedding and I was convinced.

We had the script translated and sent it to his agent. He liked the script and wanted to meet me. My producer, Serge Lalou, and I flew to Copenhagen to have lunch with him. Mads had his idea of the character. I had mine. We argued over it. When we got back, I observed to my producer that Mads and I had just had our first work session. Valhalla Rising came out in Paris two weeks later.

Was there a language issue?

Language is always an issue when you’re directing an actor. Directors always tend to talk too much. I remember our first day of shooting. Mads and I already knew each other well. We had worked hard together in preproduction, horseback riding, working on the lines and relaxing together. But on the first day of shooting, he suddenly stopped understanding. He was at a loss—because I had started talking way too much, giving reasons and explanations. I was thinking out loud, in fact. And naturally, he didn’t understand.

It took me a while to understand why. He was scared. So was I. It was the first day. We still had eight weeks of filming ahead of us. So I started doing what you should always do with actors, I asked him to do physical things— gestures, movements, talk loudly, softly, quickly, slowly, and so on—without explaining. He listened, thought, and then did as I asked. Even when he didn’t understand, he was always game to try. And that’s how we worked together, right up to the last day.

Interview realised at the FILMS DU LOSANGE, April 2013


What was it about the project that appealed to you?

I could see there was something radical and challenging about it. Not only the character, but the script itself. It’s something we don’t see every day in our line of business. A way of telling a story that is all about an idea, a character. When Arnaud des Pallières and I first met in Copenhagen, I knew nothing about him, who he was or what he’d done. Two hours later, I didn’t know more about him but I wanted to find out and work with him. Arnaud and his producer, Serge Lalou, met with me in a café. Most of our conversation was in English, with Serge doing most of the translating. Arnaud has an odd but respectful attitude to languages, which means that although his English is better than average, he doesn’t like speaking it very much. [laughter] He was though very involved in the conversation, even if he didn’t actually say much, so when he did say something, either in French or English, it really stood out. I could tell he was on a mission to make this movie.

Who is Michael Kohlhaas?

Kohlhaas is a unique person. He is not like you or me. Kohlhaas asks the world for the simplest thing—justice and equal rights for everyone—and triggers havoc all around him. Kohlhaas is a man whose ideals are bigger than himself, much bigger than his own life..

How did you prepare yourself for the role?

First of all, by working on the script. But the most important preparation is always the work you do with the director. I always ask as many questions as I can and try to get as many answers back, although I know I won’t get all the answers before I jump in. I try to get right up close to the director’s thoughts and feelings and vision, and not just of the part I’ve been given
to play.
When Arnaud and I first met, I came out with all sorts of ideas about the character and suggestions for the script. All very sensible ideas, too! Arnaud waved them all away with a series of resounding “Nos”. [laughter] I wasn’t very used to that! [laughter] But it didn’t bother me because he expressed himself with such passion and enthusiasm, and because he explained to me from the start why this story had to be told the way he intended to tell it and no other way. Later on, during pre-production, Arnaud and I talked a lot. We covered all the angles, or nearly all, so we didn’t talk half as much during the shooting. We worked together with fewer and fewer words as time went on. It got more intuitive each day, because we’d already been over so much.

How did you work with Arnaud des Pallières?

He never said a word before the first take. He always left me to come up with something. The instructions came later. There could be none or lots of them. We had some scenes in the can in just three takes. Other scenes took a whole day. For example, we took a whole day to shoot the scene where Kohlhaas tries desperately to save his dying wife. It was an extremely tough scene, physically and emotionally, for both actors, in a sequence shot. We did it so many times, not because we were doing things wrong but because there were so many options which all seemed right and beautiful and terrible and it was hard to say, that’s the one. We had a lot of freedom in the way the scene played out, and the tiredness we felt at the end of the day was the good sort. Arnaud’s way of working didn’t surprise me. We knew each other by then. Each of us knew what we had to do to make the other one feel free. The work varied according to the specifics of the scene we had to shoot, but there was always a purity and intransigence about it.

Which scene do you remember the best?

The one I just mentioned, between Kohlhaas and his dying wife. But there was also the amazing scene where I deliver a newborn foal. We could only prepare the scene of the birth up to a point. Doing it for real, all by myself, playing the part of a man who was used to doing it as part of his routine, was a whole different matter.
You’re only allowed a single take! Sanabra, the horse trainer who taught us all to ride properly for the movie, was beside me, out of shot. He whispered to me what I should do—and then suddenly the foal was there, in my arms. The moment was utterly magical. It was hard for me not to be overcome by emotion, but it was all in a day’s work for Kohlhaas and I had to keep my feelings in.

What was special for you about the experience of making the film?

Horses played a big part in Kohlhaas’s life, and so they did in mine. During pre-production, I stayed with Sanabra and his family. There, I learned how to live with horses and do everything for real. I was surrounded by magnificent horses, which were dangerous and crazy at first but behaved better and better as time went on, just like I did. I grew more skilled and relaxed, too. Arnaud was with us. He talked about his vision of the film. I was surrounded by actors who were there, like me, to work with Arnaud and the horses. Sanabra taught me alternative French in the evenings over a glass of wine. It was a very challenging time for me, workwise, but I have the happiest memories of it.

What was the hardest thing to do?

The hardest thing? The language! [laughter] As an actor, feeling myself live in another language is the hardest but most important thing. Not only making myself understood when I say my lines, but living and feeling in the language of the film. Of course, even that is not enough. My lines have to be intelligible, too! It wasn’t always easy to find the balance between feeling
myself free to act without being fixated on my pronunciation, and saying my lines intelligibly. Arnaud and I invented a way of working. And above all, we never gave up—I think. [laughter]

What do you think Kohlhaas’s story can teach us about ourselves?

I don’t think a film necessarily has to teach us anything. If it does, so much the better, but it’s not my main concern. If it were, I’d be a politician or a teacher, not an actor. But of course, the movie tells a story. It shows how an obsession with justice can lead to injustice and blindness. It shows a man who loses everything because of an ideal. Deep down, and I hope many people will see it this way, Michael Kohlhaas is a philosophical journey into the heart of man.

Johannesburg , April 2013


  • 2013 – Michael Kohlhaas by Arnaud des Pallières
  • 2012 – The hunt by Thomas Vinterberg / Royal Affair by Nikolaj Arcel
  • 2011 – The Three Musketeers by Paul W.S Anderson
  • 2009 – The Door by Anno Saul / Valhalla Rising by Nicolas Winding Refn / Coco Chanel & Igor Stravinsky by Jan Kounen
  • 2006 – Casino Royale by Martin Campbell / After the Wedding by Susanne Bier
  • 2004 – Pusher II by Nicolas Winding Refn / King Arthur by Antoine Fuqua
  • 2003 – Torremolinos 73 by Pablo Berger / The Green Butchers by Anders Thomas Jensen
  • 2002 – Wilbur by Lone Scherfig / Dina by Ole Bornedal
  • 1999 – Bleeder by Nicolas Winding Refn
  • 1996 – Pusher by Nicolas Winding Refn


  • 1st director assistant FRÉDÉRIC GOUPIL
  • Costumes designer ANINA DIENER
  • Set designer YAN ARLAUD
  • Unit Production Manager CHRISTIAN PAUMIER
  • Line Producer FLORENCE GILLES
  • Executive Producer SERGE LALOU Associate
  • In association with CINEMAGE 6
  • French Distribution and International Sales LES FILMS DU LOSANGE


  • Michael Kohlhaas MADS MIKKELSEN
  • Clergyman DAVID KROSS
  • Governor BRUNO GANZ
  • Theologian DENIS LAVANT
  • Princess ROXANE DURAN
  • Jérémie PAUL BARTEL
  • One-armed man SERGI LOPEZ
  • Abbess AMIRA CASAR

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One-Eye's One Eye

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PostSubject: Re: Michael Kohlhaas (2013)   Tue May 21, 2013 5:02 am

Quote :
First Look: Photos, Posters & Clip Of Mads Mikkelsen In Cannes Entry 'Michael Kohlhaas'


This time last year, Mads Mikkelsen was about to become the toast of Cannes. The Danish actor was on the Croisette starring in Thomas Vinterberg's "The Hunt," a stunning morality play, and went on to win the Best Actor prize at the festival for his role in that. "The Hunt" is still yet to open in the U.S. (it's coming next month), but Mikkelsen has gone from strength to strength; he's currently killing it, as it were, as the title character in "Hannibal," which has unexpectedly turned out to be one of the best dramas currently on television.

And now the actor's back at the festival to star in "Michael Kohlhaas," an adaptation of the novel by Heinrich von Kleist about a 16th century horse dealer who rebels against the establishment when two of his animals are illegally confiscated. It might not be the sexiest subject matter, but it's in Competition, which bodes well, even if the little-known director Arnaud des Pallieres is something of an unknown quantity behind the camera, at least for Western audiences.

The film has a killer supporting cast including Denis Lavant, Bruno Ganz, David Kross and Sergi Lopez, so we're certainly intrigued, though. And to tide over the wait, a brace of pictures, posters and even a clip from the film have all arrived. Are you intrigued? Or unmoved? Let us know your thoughts below, and verdicts should be in from the Croisette before too long.

Source: Indiewire

Here's the video once again.

The pictures can be found in our Gallery

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One-Eye's One Eye

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PostSubject: Re: Michael Kohlhaas (2013)   Thu May 23, 2013 11:52 pm

A First review of the movie:

Quote :
Cannes Film Review: ‘Michael Kohlhaas’

MAY 24, 2013 | 02:14AM PT, Jay Weissberg

Justice and vengeance become entwined in “Michael Kohlhaas,” Arnaud des Pallieres’ stolid treatment of Heinrich von Kleist’s influential novella about a 16th-century horse merchant whose mistreatment by those in power leads to an unholy uprising. Kleist’s direct language and straightforward storytelling are nowhere in evidence in Pallieres’ narratively challenged adaptation, featuring a French-speaking Mads Mikkelsen in one of his least impressive characterizations. Though the Cannes competition berth will generate a certain interest, there’s unlikely to be much horse trading on this title, even among fest programmers.

In 1969, when Volker Schlondorff made his “Michael Kohlhaas,” he added newsreel footage on the European release prints showing student protests around the world. The device served to make direct parallels between the novella’s themes and the unrest of ’68, highlighting the continued vitality of a tale featuring a morally upright figure resisting the corrupting influences of power. Kleist himself, a determinedly political author writing in 1808, used the based-on-fact case to draw comparisons with Napoleon’s thirst for dominance. Oddly given the richness of the theme, helmer Pallieres seems more inspired by landscape than by history or any contemporary resemblances.

In contrast to Kleist’s initially cheery protag, Mikkelsen’s Kohlhaas looks calmly superior from the get-go. He’s surprised to find a toll gate placed on his usual path to the horse market; the local Baron (Swann Arlaud, appearing both feral and hung over) has ordered his Manager (Christian Chaussex) to demand a passport. The Baron wouldn’t mind Kohlhaas’ horses either, and the Manager (clearly evil, given the actor’s scarred face and malicious grimace) demands the merchant leave behind two fine steeds as a guarantee since he doesn’t have papers.

In town, Kohlhaas learns that the passport requirement was made up, and also discovers that Cesar (David Bennent), the groomsman he left behind to take care of the collateral horses, was deliberately savaged by the Baron’s guard dogs. In addition, the two steeds have been mistreated and are at a shadow of their former strength. Kohlhaas seeks justice from the courts, but because the Baron’s influence is strong, the judges rule in his favor. While on her way to petition Marguerite, Princess d’Angouleme (Roxane Duran), for support, Kohlhaas’ wife, Judith (Delphine Chuillot), is brutally murdered.

Distraught over his beloved wife’s killing and furious that his rights have been trampled on, Kohlhaas repairs to the forest, where he gathers aggrieved men and does battle with the Baron and his henchmen. He’s joined by society’s detritus, including a one-armed man (Sergi Lopez) arriving like Sancho Panza (and speaking Catalan) on a donkey, and a giant (Guillaume Delaunay) who seemingly wandered in from a casting call for Little John in “Robin Hood.” As this band of un-merry men wage a bloody insurrection, a reformist theologian (Denis Lavant) tries to convince the devout Kohlhaas that his grievances are best left to God’s judgment.

In resetting the Kleist story from Germany to France, Pallieres (“Parc”) needed to make some changes to the text (in the novella, the theologian is Martin Luther himself). The loss of narrative cohesion, however, has less to do with locale than with conception and editing, since the helmer is at a loss to coax out the many subthemes, such as the Protestant-Catholic divide, that give the book such understated richness.

In a potentially interesting addition, the Governor (Bruno Ganz) is made extra-wary of rebellions because his father was killed in the Great Peasants’ Revolt, yet Pallieres consistently fails to make anything of such potentially enriching changes. Even more problematic, the pic neglects to highlight the most remarkable part of the story, which is Kohlhaas’ willing submission to a terrible justice after his grievances are fairly adjudicated.

Pallieres’ interest mostly lies in the lichen-stained landscape of France’s barren Cevennes region, which Kohlhaas and his men cross with almost comic regularity. The setting is unquestionably spectacular, and the use of natural light brings out the mustardy tonalities of the setting, though too often the reliance on sunlight casts faces in darkness while the ground looks resplendent. In the rare interior scenes, a torch or two wouldn’t go amiss.

Mikkelsen’s collars may be filthy but his locks of hair are always gracefully managed, accenting the shallow relief of his sculpted face, which unfortunately rarely changes from a granite-like fixedness. Given his strongly accented French, and an incongruous scene in which he speaks German, one presumes Kohlhaas is Teutonic, though again the film doesn’t know what to do with its own imposed additions.

An attractively lensed battle scene shot from above could have been engrossing, were it not for the intensely annoying distraction of over-miked wind. Portentous sound design is a major problem, made more heavy-handed by emphatic music featuring an oppressive tympanum. Odd, then, to suddenly switch, in the final scene, to a tune seemingly copied from ye olde worlde medieval fayre.

Cannes Film Review: 'Michael Kohlhaas'
Reviewed at Cannes Film Festival (competing), May 23, 2013. Running time: 121 MIN.

(France – Germany) A Les Films du Losange (in France)/Polyband (in Germany) release of a Les Films d’Ici, Looks Filmproduktionen, Arte France Cinema, ZDF/Arte, Rhone-Alpes Cinema, Herodiade, K’ien Prods. production, with the participation of Canal Plus, Cine Plus, in association with Cinemage 6. (International sales: Les Films du Losange, Paris.) Executive producer, Serge Lalou.

Directed by Arnaud des Pallieres. Screenplay, Christelle Berthevas, des Pallieres, freely adapted from the novella by Heinrich von Kleist. Camera (color, widescreen), Jeanne Lapoirie; editors, Sandie Bompar, des Pallieres; music, Martin Wheeler, Les Witches; production designer, Yan Arlaud; costume designer, Anina Diener; sound (Dolby Digital), Jean-Pierre Duret, Melissa Petitjean; associate producers, Martina Haubrich, Gunnar Dedio; line producer, Florence Gilles; assistant director, Frederic Goupil; casting, Sarah Teper, Leila Fournier.

Mads Mikkelsen, David Bennent, Paul Bartel, Bruno Ganz, Melusine Mayance, David Kross, Swann Arlaud, Sergi Lopez, Amira Casar, Denis Lavant, Roxane Duran, Delphine Chuillot, Jacques Nolot, Christian Chaussex, Richard Capelle, Nicolas Capelle, Guillaume Delaunay. (French, Catalan, German dialogue)

Source: Variety

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PostSubject: Re: Michael Kohlhaas (2013)   Thu May 23, 2013 11:57 pm

Quote :
Michael Kohlhaas: Cannes Review

3:02 PM PDT 5/23/2013 by Jordan Mintzer

The Bottom Line
Austere, atmospheric period piece is high on horses and landscapes, low on dramatic thrills.

Cannes Film Festival (Competition)

Arnaud des Pallieres

Mads Mikkelsen, Melusine Mayance, Delphine Chuillot, Denis Lavant, Bruno Ganz

Mads Mikkelsen stars in this French-language adaptation of Heinrich von Kleist's novella, which premiered in competion at the Cannes Film Festival.

CANNES -- An old-fashioned, Robin Hood-style revenge tale that favors self-serious storytelling over action and suspense, Arnaud des Pallieres’ Michael Kohlhaas provides a few quick thrills and some beautifully photographed landscapes, but never really convinces as an intellectual’s swords-and-horses period piece -- even when it’s the formidable Mads Mikkelsen who’s holding the sword. Following a Cannes competition premiere, this pristinely crafted Franco-German co-production should see additional fest and Euro art-house slots, but will have a hard time riding far overseas.

Based on Heinrich von Kleist’s novella, this is actually the second screen adaptation following a 1969 version by Volker Schlondorff, which also played in competition at Cannes. The original text, written in 1811, was based on the true story of a 16th-century German merchant who, after a local baron seized his horses, sought redress in the public courts before launching a private terror war, until he was eventually captured and executed.

Des Pallieres and co-writer Christelle Berthevas up the ante on both the book and the historical record by inserting additional incidents and characters, in particular a loving wife, Judith (Delphine Chuillot), and daughter, Lisbeth (Melusine Mayance, excellent), who in many ways become the raison d’etre for Kohlhaas’ rebellion, especially after Judith is slaughtered when she brings her husband’s case to the ruling Princess of Angouleme (Roxanne Duran).

After his wife’s death, Kohlhaas takes up arms with a group of merry men -- including a Sancho Panza-like character played by Sergi Lopez -- launching a crossbow attack on the castle of the local baron (Swann Arlaud), in what’s definitely the film’s only major action sequence. When the nobleman escapes, the band pursues him across the countryside to a nearby convent, wreaking havoc along the way and earning the wrath of the princess’ men.

As juicy as that sounds, des Pallieres, making his third feature after two well-regarded medium-length films (particularly Disneyland, mon vieux pays natal), is less interested in pulling off a French-language Game of Thrones than in creating a moody and atmospheric costume drama -- one that excels in its gorgeous settings, impressive horse stunts and intricately lit widescreen cinematography (by Jeanne Lapoire, A Castle in Italy), but fails to build sufficiently interesting characters, and a dramatic enough arc, to carry it through a rather plodding two-hour running time.

There are however a few noteworthy moments, including a discussion between Kohlhaas and a scruffy clergyman (the great Denis Lavant, Holy Motors) that raises questions of faith and moral duty, and an expertly staged closing scene that combines a lengthy sequence shot with composer Martin Wheeler’s powerfully ambient score.

Yet such exceptions only reveal how much the rest of Michael Kohlhaas lacks the kind of filmmaking needed to prop up such a dourly straightforward narrative, and as much as the imposing Mikkelsen (The Hunt, Casino Royale) certainly looks and acts the part (and even does justice to the French dialogue), his backwoods rebel never becomes a hero -- or villain -- you’d gladly march behind.

Venue: Cannes Film Festival (Competition)
Production companies: Les Films d’ici, Looks Filmproduktionen
Cast: Mads Mikkelsen, Melusine Mayance, Delphine Chuillot, Denis Lavant, Bruno Ganz
Director: Arnaud des Pallieres
Screenwriters: Arnaud des Pallieres, Christelle Berthevas, based on the novella Michael Kohlhaas by Heinrich von Kleist
Producers: Martina Haubrich, Gunnar Dedio
Executive producer: Serge Lalou
Director of photography: Jeanne Lapoire
Production designer: Yan Arlaud
Costume designer: Anina Diener
Music: Martin Wheeler, Les Witches
Editors: Sandie Bompar, Arnaud des Pallieres
Sales Agent: Les Films du Losange
No rating, 122 minutes

Source: Hollywoodreporter

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PostSubject: Re: Michael Kohlhaas (2013)   Fri May 24, 2013 11:20 pm

Quote :
Cannes 2013: Michael Kohlhaas – first look review

Mads Mikkelsen makes a principled avenging warrior in this handsome 16th-century-set tale of a man wronged – which could certainly use picking up the pace a little

Andrew Pulver, guardian.co.uk, Friday 24 May 2013 15.02 BST

3 of 5 stars

Here is a handsomely-made and admirably high-minded revenge movie, set in 16th century France, that paints its world in glowing, vivid colours, but is rather too much in love with its leading man, Mads Mikkelsen, to achieve the epic grandeur it is aiming at. It is directed by Arnaud des Pallières, making his first visit to the Cannes competition with his fourth feature, and is adapted from the novella by Heinrich von Kleist, with the action transposed from Reformation-era Saxony to the mountainous Cévennes region of France.

Des Pallières' film follows the original fairly closely: Mikkelsen plays a horse trader who is badly treated by a local baron; his attempt to gain legal redress over two illegally-held horses and a beating of his servant is thwarted by the baron's influence at court. After his wife is killed, and fanatically attached to the principle of justice, Kolhaas takes up arms and gradually amasses a rebel army that threatens the state; only then are his grievances addressed.

Mikkelsen cuts quite a dash in the role of a wronged man filled to the brim with noble suffering; his razor-sharp cheekbones are almost as lethal a weapon as the giant sword he slings on his back. And des Pallières has a fine eye for the rough-hewn physicality of the period; the clanking metal of the weaponry, the squeaking wooden axles of the carts, the ragged homespun fabric of the clothing. He also comes up with some rather brilliantly staged sequences: a raid on a baronial fortress by Kolhaas and his crossbowmen; a curious visit by youthful princess Marguerite that catches hunky Mads in the bath; an intriguing scene where Kolhaas is criticised by a charismatic clergyman played by Denis Lavant.

But for a story that seeks to remind us of the harshness of pre-modern life, the whole is very emotionally soft-focus: after his impossibly idyllic lifestyle is interrupted, Mikkelsen's performance is essentially a single-note affair: intense burning nobility. The pace, however, struggles to rise above ponderousness, and the film is not helped eitherby abrupt time jumps in the narrative that leave the viewer floundering for no particular reason; they're a baffling formal device in what is essentially a western reconfigured around the Wars of Religion. By sticking to his source, des Pallières ensures his film has substance, and he adds plenty of visual style. But it remains at a plod, when it should canter.

Source: Guardian

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PostSubject: Re: Michael Kohlhaas (2013)   Sun May 26, 2013 12:44 am

Some more reviews:

Quote :
Cannes 13: MICHAEL KOHLHAAS von Arnaud des Pallières

Von Michael Sennhauser | 24. Mai 2013 - 15:09

Kleists Michael Kohlhaas als blindwütiger Rächer in Death Wish-Manier, mit Mads Mikkelsen in der Titelrolle, wunderschönen Pferden in wunderschöner Landschaft, mit Schwertern, Blut und Eichenlaub.

Nein, nein, nein. Natürlich nicht. Arnaud des Pallières ist ein belesener, kultivierter Mann, ein europäischer Franzose, nicht Michael Winner.
Er belässt die Geschichte im 16. Jahrhundert, verlegt sie aber von Deutschland nach Frankreich, in die Sevennen. Ihn interessiert der von Bauernaufständen geprägte Übergang vom Feudalsystem zum aufgeklärten Staat, die Ko-Existenz von Katholiken und Protestanten und der justitiable Materialismus.

Und wo man bei der Lektüre von Kleists Novelle durchaus actionfilmmässige Gewaltorgien wittern kann, reduziert des Pallières diese Szenen auf ein kühles, kalkuliertes Töten, mit Angst und Zweifeln auf beiden Seiten.

Kohlhaas bleibt der reiche Pferdehändler, der erlittenes Unrecht durch einen jungen Adligen nicht hinnimmt, sondern klagt. Und nachdem das Gericht seine Klage abgewiesen hat, weil der Adelige gute Verbindungen zu den Richtern hat, wird er eben zum modernen Aufständischen. Er hat das Geld, die Wut und weiss das Recht auf seiner Seite… egal was es kostet: «Fiat iustitia, et pereat mundus».

So wird der Film denn nicht zu Highlander IV, obwohl manche der Aufnahmen in der wilden Pracht der Sevennen duchaus so aussehen, sondern zu einer verhaltenen, nüchternen, durchaus wirkungsvollen Thesenübung mit einem Touch von Bresson.

Gedreht mit zurückhaltenden Fantasiekostümen in historischen Gebäuden und Landschaften im heutigen Zustand, und in einer modernen Sprache (welche etliche der Darsteller, inklusive Mads Mikkelsen, keineswegs akzentfrei beherrschen), gelingt dem Film die Emotionalisierung seines Publikums mit dem Umweg über den Kopf.

Das ist manchmal ein wenig trocken, etwa wenn Bruno Ganz den Gouverneur der Königin von Navarra und Freund von Kohlhaas spielt, der versucht, zu retten, was zu retten ist, aber dem Gesetz verpflichtet bleibt.

Und manchmal, ganz selten allerdings, humorvoll. Ganz besonders, wenn des Pallières Sergi Lopez als rundlichen spanischsprechenden Bauer auf einem Esel zu Kohlhaas’ Truppen stossen lässt: Da gesellt sich Sancho Pansa zu Don Quijotte, bloss, um vernünftigerweise gleich wieder nach Hause geschickt zu werden.

Ein anderer kleiner Witz im Spiel ist der Einsatz von Denis Lavant als ernsthaftem reformatorischem Prediger, der Kohlhaas die Leviten liest und sein Tun als verwerflich brandmarkt, nicht weil er ihm die Gerechtigkeit verweigern möchte, aber weil er das Töten von Bauern schlicht nicht als christliches Mittel zur Rechtsdurchsetzung akzeptieren will. Und die Bauern werden es ja am Ende sein, welche ihren Aufstand mit Kohlhaas tatsächlich mit dem Leben bezahlen.

Michael Kohlhaas ist ein gelungener, strenger Neo-Klassiker, ein Film für fast niemanden wohl, aber mit durchdachter Struktur und flüssiger Thesenhaftigkeit. Dass des Pallières bewusst mit dem Versprechen des Unterhaltungskinos spielt, zeigt sich auch daran, dass er im Presseheft zum Film erklärt, eigentlich habe er für die Titelrolle einen dreissig Jahre jüngeren Clint Eastwood gesucht.

Und dann setzt er noch einen ironischen Sprung drauf: Die Casting-Agentin Sarah Teper habe ihm Mads Mikkelsen vorgeschlagen. Worauf er den im Internet gesucht habe (!) und sein Gesicht erst mal für untauglich hielt. Erst, nachdem er ihn in (ausgerechnet) Nicolas Winding Refns Pusher-Trilogie gesehen habe, sei er überzeugt gewesen von den Fähigkeiten des Mannes.

Diese Franzosen aber auch.

Cannes 13: MICHAEL KOHLHAAS by Arnaud of Pallières

Michael Senn Hauser | 24 May 2013 - 15:09

Kleist's Michael Kohlhaas as unrestrained Avengers in Death Wish-style, with Mads Mikkelsen in the title role, beautiful horses in beautiful countryside, with swords, blood and oak leaves.

No, no, no. Of course not. Arnaud of Pallières is a well-read, cultured man, a European Frenchman, not Michael Winner .
He leaves the story in the 16th Century, but they moved from Germany to France in the Cévennes Mountains. What interests him is dominated by peasant revolts transition from the feudal to the enlightened state, the co-existence of Catholics and Protestants, and the justiciable materialism.

And where you can smell action film periodic orgies of violence in reading Kleist's novella quite the Pallières reduced these scenes on a cool, Calculated killing, with fear and doubt on both sides.

Kohlhaas is the rich horse-dealer, accepts the injustice suffered not by a young nobleman, but complains. And after the court dismissed his complaint because the nobleman has good connections to the judges, he is just the modern rebels. He has the money, the rage and knows the law on your side ... no matter what it costs, " Fiat justitia, et pereat mundus ".

So the film is not for Highlander IV, although some of the shots in the wild splendor of the Cevennes duchaus look like, but to a modest, sober, thoroughly effective exercise thesis with a touch of Bresson.

Shot with restrained fantasy costumes in historical buildings and landscapes in its present state, and in a modern language (which some of the actors, including Mads Mikkelsen, not an accent command), the film manages the emotional his audience with a detour through the head.

This is sometimes a little dry, as when Bruno Ganz, the Governor of the Queen of Navarre and friend of Kohlhaas plays, trying to save what can be saved, but remains committed to the law.

And sometimes, very rarely, however, humorous. Especially when the Pallières Sergi Lopez leaves poking rotund Spanish-speaking farmer on a donkey to Kohlhaas' troops: Since joins Sancho Panza to Don Quijotte, merely to be reasonably sent right back home.

Another little joke in the game is the use of Denis Lavant as a serious Reformation preacher who Kohlhaas reads the riot act and his actions stigmatizes as reprehensible, not because he wants to deny him justice, but because he killing of peasants simply not as a Christian means want to accept enforcement. And the farmers there will indeed be at the end, which actually pay their revolt with Kohlhaas with life.

Michael Kohlhaas is a successful, strict neo-classic, a film for almost anyone well, but with sophisticated structure and liquid Thesenhaftigkeit. Pallières aware of that plays with the promise of entertainment cinemas, shows itself in the fact that he explained in the press release for the film, he actually was looking for a thirty years younger than Clint Eastwood in the title role.

And then he goes one step on it ironic: The casting director Sarah Teper has proposed to Mads Mikkelsen. What he had to searched the Internet (!) And held his face only once for disabled. Only after him (calculated) Nicolas Winding Refn's Pusher trilogy saw that he was convinced of the capabilities of the man.

Source: Sennhausers filmblog

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PostSubject: Re: Michael Kohlhaas (2013)   Sun May 26, 2013 12:50 am

Quote :
'Michael Kohlhaas' (2013) Movie Review - Cannes Film Festival

A lyrical film missing a particularly meaty element to bring it all together


Mads Mikkelsen has one of the most expressive faces in cinema today. Emotional, challenging, demanding and domineering, and this is before he ever bats an eye, furrows his brow or says a word. For these reasons I was able to stay with Michael Kohlhaas for the better part of an hour, but then it began to wear on me, though not in a way that had me giving up on it.

It's not that the narrative is slow, in fact it's rather lyrical, but director Arnaud des Pallieres is overly patient, lingering from one scene to the next. Many, if not most, scenes could be chopped down by 10-15 seconds, making room for more story. While des Pallieres is committed to the story of his title character, he forgets to show us more of his actions after a lovely set up, all leading to an emotional conclusion, that would have hit a lot harder had he not seemed so disinterested in his second act.

Set in the 16th century in the Cévennes, Mikkelsen plays the film's title character, a horse dealer known for the quality of his stock. He lives with his wife Judith (Delphine Chuillot) and daughter Lisbeth (Melusien Mayance) and his life is a simple and happy one. However, when wronged by a local Baron, Michael Kohlhass' sense of justice kicks into overdrive.

After three attempts with the corrupt court system, Kohlhaas allows Judith to go to the Princess (Roxane Duran) to beg for justice. She comes home beaten and bleeding. Shortly thereafter she dies.

A man of God, Kohlhaas knows his next move is one God would look down on, telling the small army he's raised, "I pray the Lord will never forgive me as we forgive the young Baron." The search for political justice has failed Kohlhaas and he believes his only resort is justice through violence. The film aims to follow that journey.

The first hour or so is spent establishing Kohlhaas as a man of honor and righteousness. He loves his wife and daughter, cares for his animals and lives a prosperous life without harming anyone. When the young Baron (a strong but mostly quiet performance from Swann Arlaud) takes two of his strongest horses as collateral for allowing him to use his bridge there's a moment where Kohlhaas' strength in character and honor is on display as the Baron aims a gun at him from a distance and Kohlhaas doesn't budge, integrity intact. If anything, his honor characterizes him more than anything around him and it's why when the Baron fails to return his horses he is unable to forgive him, more so than even the death of his wife or even the fate of his stolen horses.

I can understand des Pallieres' interest in such a man. The film is based on the 1811 German novella by Heinrich von Kleist, adapted by des Pallieres with Christelle Berthevas for the screen. But in the adaptation, the patience and care with which the first hour establishes Kohlhaas as a character is forgotten in the second act where he seeks retribution against those that have wronged him and those that stand in his way.

In order to come full circle with Kohlhaas we must endure his journey and this doesn't mean this already two hour movie needs to be any longer. As I suggested earlier, just snip 10 seconds or so off most of the film's scenes and the film would not only have a slightly more elevated pace, but there would be room to further explore Kohlhaas' campaign for justice and the motivations of the men that join him.

As a result, more interesting than the army Kohlhaas raises are those on the periphery. The strongest supporting performances come from the two characters playing holy men, David Kross (The Reader) as a preacher and Holy Motors star Denis Lavant as a priest who visits Kohlhaas only once during the film while in the midst of his campaign.

The scene with Lavant is one of the strongest of the film as the two discuss his reasons for what he's doing and the people he's killed. Lavant's priest is intrigued to learn he's a man of God while at the same time abhors his actions, offering no forgiveness for what he's done. Lavant's screen presence is strong and it's no surprise a scene between he and Mikkelsen lives up to expectations.

Michael Kohlhaas also benefits from the tremendous cinematography of Jeanne Lapoirie. There are moments where the sun nearly sets the screen on fire, others of cold darkness and the close-ups are striking. I wasn't as impressed with Martin Wheeler's score, which was too overbearing for me and often too repetitive. Of course, had certain scenes not carried on so long perhaps the score wouldn't have stood out so much.

Overall, I saw Michael Kohlhaas as a missed opportunity, largely due to its middle portion. Des Pallieres didn't seem interested in Kohlhaas' campaign as much as he did the motivation and the end result. The violence he encouraged across the land, however, I felt was just as important as why he was doing it and where his life leads in the aftermath and wish the film had captured all aspects of these matters rather than just the bookends.


Source: Rope of Silicon

Quote :
Cannes 2013: Tonight I'm Seeing 'Michael Kohlhaas' Starring Mads Mikkelsen, Here's a Sneak Peek

Plus some pictures and a look at the poster


Schedules change when you have so many movies to choose from while you're in Cannes. Of course you're going to see all the most anticipated titles, but when faced with the decision to either see a film that premiered at the Sundance Film Festival such as Magic Magic as I had planned or a French film starring Mads Mikkelsen as a 16th century horse dealer that raises an army and puts his country to fire and sword in order to have his rights restored, it's hard not to choose the latter when who knows when you'll get a chance to see it again.

The latter film I mention is Arnaud des Pallières' Michael Kohlhaas and along with Mikkelsen it co-stars Mélusine Mayance, Delphine Chuillot, David Kross (The Reader), Bruno Ganz (Downfall), Denis Lavant (Holy Motors) and Roxane Duran and is already set to hit French theaters this July.

In preparation for my review I thought you might like to see a clip, which establishes the story described above, along with a look at the poster and you can click here for a peek at a few more pictures from the film.

Source: Rope of Silicon

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PostSubject: Re: Michael Kohlhaas (2013)   Sun May 26, 2013 1:03 am

Quote :
Durch die Wälder durch die Auen in Cannes: “Michael Kohlhaas”

24.05.2013, von herbertspaich

1808 hat Heinrich von Kleist mit der Novelle „Michael Kohlhaas“ eines seiner Hauptwerke veröffentlicht. Die komplizierte Geschichte eines Rosshändlers, der an seinem Versuch scheitert, Ideal und Wirklichkeit in Einklang zu bringen, ist ein beliebter Stoff für den Deutschunterricht, auch in Frankreich. Nach Goethe ist Kleist den Franzosen der liebste deutsche Klassiker. Von Volker Schlöndorff 1969 mit David Warner bis zu einer schwäbischen Schulklasse mit Playmobil-Männchen ist „Michael Kohlhaas“ mehrfach in Deutschland verfilmt worden. Mit eher mäßigem Erfolg. Gestern hat nun eine französische Adaption (als Koproduktion mit deutschen Partnern) bei den Filmfestspielen von Cannes Premiere. Regie führte Arnaud des Pallières, der sich in Frankreich mit seinen Film-Essays über Gilles Deleuze und Gertrude Stein einen Namen gemacht hat…

Vor langer, langer Zeit lebte in den Cevennen im Süden Frankreichs ein reicher Pferdezüchter glücklich und zufrieden. Er hieß Michael Kohlhaas – ein ungewöhnlicher Name für diese Gegend. Ein freier Mann in jeder Beziehung: wenn Herr Kohlhaas Nächtens seinen ehelichen Pflichten gegenüber Frau Kohlhaas nachkommt, dann sieht das aufgeweckte Töchterlein zu und fragt: „Macht ihr Liebe“? Wo Zeugung ist, darf auch die Geburt nicht fehlen. So werden wir in Echtzeit Zeuge, wie ein Pferd ein Fohlen zur Welt bringt. Das steht so nicht bei Kleist; zeigt aber, das Regisseur Arnaud des Pallières seine Sozialisation bei den 68ern erlebt hat. Frei geht er also mit der literarischen Vorlage um.

Es kommt deshalb auch nicht darauf an, ob Hohenlohe oder Südfrankreich – Wald ist schließlich Wald und da ist der Michael Kohlhaas in dieser Neuverfilmung viel unterwegs. Im dunklen Forst passiert dann auch die dumme Geschichte mit dem Passierschein und Pferden als Pfand.

Wie bei Kleist bekommt sie Kohlhaas ziemlich ramponiert zurück, was ihn zu Recht erbost.Die Obrigkeit reizt den Untertanen weiter. Als dann noch die um Vermittlung bemühte Gattin Schaden nimmt, sieht der Mann rot…

Kohlhaas zieht in den Privatkrieg – der diesmal mit Armbrüsten ausgetragen wird. Ziemlich effektiv, Blut fließt in Strömen. Zwar lässt der immer noch wackere Kohlhaas einen der Seinen aufknüpfen, der es besonders arg getrieben hat, aber das macht die Sache auch nicht besser. Deshalb kommt das bei Kleist so auch nicht vor.

Dafür kommt ein geistlicher Herr des Wegs, der Kohlhaas eine moralische Standpauke hält. Luther ist es nicht, denn der kam nicht bis Südfrankreich. Das konnte sich der Regisseur zumindest merken!

Umweht vom Hauch des französischen Strukturalismus irrt Arnaud des Pallières bei seiner Adaption ebenso verwirrt durch die Kleist’sche Novelle, wie sein „Don Quijote rigoroser bürgerlicher Moralität“ – wie es Ernst Bloch einmal ausdrückte – durch die Wälder und die Auen.

Dabei entwickelt Titeldarsteller Mad Mikkelsen in etwa so viel mediale Ausstrahlung wie die Playmobil-Männchen in dem Schüler-Video des „Kohlhaas“, das es im Internet immerhin zu beträchtlicher Popularität gebracht hat. Darüber hätte sich Heinrich von Kleist vermutlich gefreut; angesichts von des Pallières Verfilmung aber ein zweites Mal erschossen.

Über die Auftritte von Bruno Ganz und David Bennent in diesem Unglück von Film schweigt ohnehin des Sängers Höflichkeit…

Gegen Ende der Filmfestspiele von Cannes kommen wohl die “faulen Eier” aufs Tapet: neben “Michael Kohlhaas” enttäuschte “The Immigrant” von James Gray und ganz besonders Jim Jarmusch mit seinem wirren Ausflug in den Vampirfilm “Only lovers left alive”. Da sieht man Polanskis “Venus im Pelz” am heutigen Samstag mit gemischten Gefühlen entgegen….

Through the woods, the meadows in Cannes: "Michael Kohlhaas"

24/05/2013, from herbertspaich

1808 Heinrich von Kleist has published the novella "Michael Kohlhaas," one of his masterpieces. The complicated story of a horse trader who fails in his attempt to bring the ideal and reality in harmony, is a popular material for the teaching of German, also in France. According to Goethe, Kleist is the favorite French German classics. By Volker Schlöndorff in 1969 with David Warner up to a Swabian school class of Playmobil figures is "Michael Kohlhaas" has been filmed several times in Germany. With rather limited success. Yesterday, has a French adaptation (co-produced with German partners) at the Cannes Film Festival premiere. Directed by Arnaud of Pallières, who has made in France with his film essay on Gilles Deleuze and Gertrude Stein, a name ...

Long, long ago there lived in the Cevennes in southern France a wealthy horse breeder happy and satisfied. His name was Michael Kohlhaas - an unusual name for this area. A free man in every respect: if Mr. Kohlhaas Nächtens fulfill his marital duty to Ms. Kohlhaas, then looks to the woken daughter and asks: "Do you love"? Where is procreation, the birth must. So we are in real-time tools, like a horse brings a foal. This is not so in Kleist, but shows that the director Arnaud Pallières has seen his socialization at the 68ers. So off he goes to the literary model.

It therefore does not matter whether or Hohenlohe South of France - forest is forest and finally because of Michael Kohlhaas, in this remake a lot. In the dark forest then happens the silly story with the pass and horses as collateral.

As with Kleist Kohlhaas she gets back pretty battered, what legal authority erbost.Die him further irritates the subjects. Then when the wife tried to mediate takes damage, the man sees red ...

Kohlhaas goes to private war - is this time played with crossbows. Quite effective, blood flows freely. Although it can still worthy of Kohlhaas hanged one of his own, has it particularly hard driven, but that does not make it any better. Therefore comes as not before Kleist.

For it is a spiritual master of the path of Kohlhaas has a moral scolding. Luther, it is not because the did not come to southern France. This could remember the director at least!

Fanned by the breath of French structuralism Arnaud is mistaken in his adaptation of Pallières equally confused by the Kleist'sche amendment as his "Don Quixote rigorous bourgeois morality" - as Ernst Bloch once put it - through the woods and meadows.

This title developed Starring Mad Mikkelsen about as much charisma as the media Playmobil figures in the student video of the "Kohlhaas," which has brought it on the internet after all, to a considerable popularity. In Heinrich von Kleist had probably enjoyed, and in view of the Pallières film but shot a second time.

About the performances of Bruno Ganz and David Bennents in this disaster film stays silent courtesy of the singer ...

Towards the end of the film festival of Cannes probably get the "rotten eggs" up for discussion: next "Michael Kohlhaas" disappointed "The Immigrant" by James Gray and especially Jim Jarmusch with his chaotic trip to the vampire movie "Only lovers left alive". As you can see Polanski's "Venus in Furs" this Saturday with mixed feelings ....

SWR Blog (German TV)

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PostSubject: Re: Michael Kohlhaas (2013)   Sun May 26, 2013 1:07 am

Quote :
Screen's Cannes Competition Blog: Only Lovers Left Alive and Venus in Fur

24 May, 2013 | By Fionnuala Halligan

[... reviews for all movies of the festival ...]

Michael Kohlhaas

Crowds at the Palais des Festivals are beginning to thin out - only three Competition titles remain after Michael Kohlhaas, an odd, if not dull film based on the early 19th Century novel by Heinrich von Kleist. Its main selling point is Mads Mikkelsen as the titular Robin Hood-style hero rattling around a sparse 16th Century France, exacting revenge for the death of his wife and the abuse of his horses at the hands of a neighbouring baron, although a slippery Princess doesn’t help matters.

Michael Kohlhaas is very low on sets (most of it is shot on the hoof in a somber forest) and very long on throbbing, electronic beats reminiscent of Noe/Refn which threaten much but deliver very little. An early sequence when Koolhaas and his gang of taciturn guerillas launch an attack on the Baron’s castle holds out some hope, but it all peters out for French director Arnaud de Pallieres.

Previously filmed by Volker Schlondorff in 1969 with David Warner in the lead, Michael Kohlhaas was no critical darling, but neither was it booed. Just a few forlorn critics were left scratching their heads and earnestly reading the title sequence to figure out why two characters who previously spoke French to each other, might suddenly, and briefly, broken into German in the middle of the piece.

[... reviews for all movies of the festival ...]


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PostSubject: Re: Michael Kohlhaas (2013)   Sun May 26, 2013 1:15 am

Quote :
Filmfestspiele Cannes
Gemischte Konkurrenz auf der Zielgeraden

24.05.2013 19:30 Uhr | Aktualisiert 24.05.2013 19:35 Uhr, VON RÜDIGER SUCHSLAND

Mads Mikkelsen spielt „Kohlhaas“, Steven Soderbergh zeigt einen Beitrag über ein Wunderkind, der deutsche Streifen „Tore tanzt“ erntet Buhs. Die Filmfestspiele in Cannes sind auf der Zielgeraden.

CANNES/MZ. Michael Douglas, Mads Mikkelsen und die Französin Marion Cotillard - dies sind die Stars der letzten Tage. Der Wettbewerb in Cannes geht in seine Zielgerade, aber noch stehen Beiträge aus, bevor am Sonntagabend die Jury um Steven Spielberg die Preise verleiht. Unter denen, die noch auf den Start warten, ist Roman Polanski mit seinem neuen Spielfilm.

Polanski ist bereits seit Mittwoch in Cannes, denn er hat dem Publikum noch etwas anderes mitgebracht: „Weekend of a Champion“, einen völlig vergessenen Dokumentarfilm, den er 1971 gedreht hat. „Weekend of a Champion“ begleitet Jackie Stewart, seinerzeit einer der berühmtesten Formel-1-Rennfahrer der Welt und dreifacher Weltmeister (1969, 1971 und 1973) bei dem Rennen von Monte Carlo inklusive aller Vorbereitungen und Trainingsfahrten.

Das Innenleben der Formel 1

Dies ist ein Sportfilm mit Einblicken ins Innenleben der Formel 1, gespeist von Polanskis Faszination für den Autorennsport. Es ist aber vor allem eine Reise in eine verlorene Zeit: Vor 42 Jahren hatten die Männer noch Koteletten und lange Haare, „a trendy time“ nennt es Stewart einmal im Film, die Autos waren klein, zerbrechlich und schlecht gefedert, die Rennen nicht nur auf dem engen Stadtkurs von Monaco mit seinen Haarnadelkurven lebensgefährlich. Da galt noch: Nur wer sterben kann, kann zum Helden werden, und der Satz, dass das Kino das Vergehen der Zeit und den Tod aufhält, hat eine andere Bedeutung.

Eine zweite Männerwelt, die mit dem Sport am Rande zu tun hat, sucht Steven Frears auf: Weiße Juristen in dunklen Räumen. „Muhammads Alis greatest fight“ handelt vom Kampf des Boxweltmeisters gegen seinen Einstellungsbefehl zum Krieg in Vietnam.

Ali appellierte in dieser Sache an das US-Verfassungsgericht, und Frears zeigt deren inneren Kampf um die Urteilsfindung - Christopher Plummer, Frank Langella, Barry Levinson spielen einige der Richter, die Ali schließlich einstimmig freisprechen.

Ein sehr besonderer Mann war Wladziu Valentino Liberace, der 1919 als Kind einer polnischen Mutter und eines italienischen Vaters nach einer klassischen Pianoausbildung in den 30er Jahren als Wunderkind am Chicago Symphony Orchestra berühmt wurde, in den 50ern eine eigene TV-Show hatte, und später als Entertainer in Las Vegas auftrat.

Auch in seinem Hang zum ausschweifenden Leben und extravaganten Kostümen war „Liberace“ ein Pionier des heutigen Showbusiness. Michael Douglas spielt ihn glänzend in Steven Soderberghs „Behind the Candelbra“.

Der Film konzentriert sich ganz auf das letzte Lebensjahrzehnt des Stars und dessen private Seite: Sein geheim gehaltenes schwules Liebesleben und die Beziehung zu Scott Thorson (Matt Damon), der später sein Biograf wurde.

Der Film macht großen Spaß, denn dies ist ein hedonistisches Werk über Oberflächen, Pomp und Extravaganz und die Lust daran. Es ist aber auch ein schneller, einfacher Genuss insofern, als er dem Zuschauer nicht viel abverlangt. Weder hat Soderbergh eine provokative, moralisch oder politisch anstößige Haltung, noch erkennbaren ästhetischen Ehrgeiz. Da „Behind the Candelbra“ in Hollywood trotz seiner prominenten Macher kein Geld bekam - aus Homophobie? - wurde er als Fernsehfilm finanziert - und so sieht er auch aus: linear, dramaturgisch simpel, mit bildschirmgerechter Inszenierung - weit entfernt von der komplexen Ästhetik von TV-Highlights wie „Homeland“ oder „24“. Der Applaus war dennoch einhellig.

Passion und Missbrauch

Überdurchschnittlich viele Buhs gab es dagegen für den deutschen Beitrag: „Tore tanzt“ in der Sektion „Un Certain Regard“. Der Debütfilm der Hamburger Regisseurin Kathrin Gebbe erzählt eine Passionsgeschichte, bei der ein reiner Tor, ein Unschuldslamm wie Dostojewskis „Idiot“, in die Fänge eines sadistischen Paares gerät, und sich für deren Kinder opfert - das war weder realistisch, noch symbolistisch schlüssig. Der Film provozierte zudem durch explizite Bilder von Folter und sexuellem Missbrauch - Misshandlungskino, bei dem auch der Zuschauer nicht ungeschoren davonkommt.

Während Deutsche vor ihm Angst haben, ist Heinrich von Kleist der Franzosen liebster Dramatiker: Jetzt hat Arnaud des Pallières „Michael Kohlhaas“ verfilmt, mit Mads Mikkelsen in der Titelrolle, daneben David Bennent, Bruno Ganz und David Kross. Ein ruhiger, fast zen-buddhistscher Kohlhaas in starken Natur-Bildern, die an einen Italowestern erinnern, und dem Film einen Kamerapreis einbringen könnten.

Aber wer gewinnt denn nun die Goldene Palme? Nachdem lange Zeit der neue Film der Coen-Brüder in den Umfragen führten, hat nun auch bei den internationalen Filmkritikern der französische Beitrag „Blue ist he warmest colour“ (die MZ berichtete gestern) die Nase vorn. Die Debatten in der Jury könnte das beeinflussen, muss es aber nicht. Zum Ende eines starken Wettbewerbs ist die Entscheidung überaus offen.

24.05.2013 19:30 clock | Updated 24/05/2013 19:35 clock BY RÜDIGER SUCHSLAND

Mads Mikkelsen plays "Kohlhaas," Steven Soderbergh is a post about a child prodigy, the German movie "Dances gates" reaping boos. The Film Festival in Cannes are in the home stretch.

CANNES / MZ. Michael Douglas, Mads Mikkelsen and the Frenchwoman Marion Cotillard - these are the stars of the last days. The competition in Cannes enters its final stretch, but still posts are made before the jury on Sunday evening to Steven Spielberg gives the prices. Among those who are still waiting for the start, Roman Polanski is with his new feature film.

Polanski has been since Wednesday in Cannes, for he has the audience still brought something else: "Weekend of a Champion", a completely forgotten documentary that he filmed in 1971. "Weekend of a Champion" accompanied Jackie Stewart, his time one of the most famous Formula 1 drivers in the world and three-time world champion (1969, 1971 and 1973) in the race of Monte Carlo, including all preparation and training rides.

The inner life of formula 1

This is a sports movie with insights into the inner workings of the formula 1, fed by Polanski's fascination with auto racing. But it is mainly a journey into a lost time 42 years ago, had the men still sideburns and long hair, "a trendy time" Stewart once called it in the movie, the cars were small, fragile and poorly sprung, the race is not only dangerous on the narrow street circuit of Monaco, with its hairpin bends. Since there was only those who can die, can be a hero, and the sentence that cinema is staying the passage of time and death, has a different meaning.

A second man's world, which has to do with the sport on the sidelines, Steven Frears examined: White lawyers in dark rooms. "Muhammad Ali's greatest fight" is about the struggle of the boxing world champion against his adjustment command to the war in Vietnam.

Ali appealed the matter to the U.S. Constitutional Court, and Frears shows the inner struggle for the verdict - Christopher Plummer, Frank Langella, Barry Levinson play some of the judges, Ali finally acquitted unanimously.

A very special man was Wladziu Valentino Liberace in 1919 as a child of a Polish mother and an Italian father after a classical piano training in the 30s became famous as a child prodigy at the Chicago Symphony Orchestra in the '50s had her own TV show, and later as Entertainers in Las Vegas occurred.

Even in his penchant for debauchery and extravagant costumes was "Liberace" a pioneer of today's show business. Michael Douglas plays him brilliantly in Steven Soderbergh's "Behind the Candelbra".

The film focuses entirely on the last decade of the stars and the private side: His kept secret gay love life and relationship with Scott Thorson (Matt Damon), who later became his biographer.

The movie is great fun, because this is a hedonistic work surfaces over, pomp and extravagance and the desire it. But it is also a fast, simple enjoyment insofar as it demands the viewer much. Neither Soderbergh has a provocative, morally or politically offensive posture, still recognizable aesthetic ambition. Since the "Behind the Candelbra" despite its prominent makers got no money in Hollywood - from homophobia? - It was financed as a TV movie - and it also looks: linear, dramatically simple, with just screen presentation - a far cry from the complex aesthetics of TV highlights such as "Homeland" or "24". The applause was nevertheless unanimously.

Passion and abuse

Above average contrast, there were boos for the German contribution, "Gates dances" in the section "Un Certain Regard". The debut film of the Hamburg director Kathrin Gebbe tells a story of the Passion, in which a pure fool, an innocent lamb as Dostoevsky's "Idiot", falls into the clutches of a sadistic couple, and sacrifices for their children - that was neither realistic nor symbolist manner. The film also provoked by explicit images of torture and sexual abuse - abuse cinema, in which the audience it is also not spared.

While German are afraid of him, Heinrich von Kleist's the favorite French dramatist: Arnaud Now the Pallières "Michael Kohlhaas" was filmed, starring Mads Mikkelsen in the title role, next to David Bennents, Bruno Ganz and David Kross. A calm, almost zen-buddhist shear Kohlhaas in strong natural images that are reminiscent of a spaghetti western, and the film could bring a camera price.

But who wins the Palme d'Or for now? After a long time led the new film by the Coen brothers in the polls, the French Post has now also in the international film critics' hey warmest color is Blue "(MZ reported yesterday) in the lead. The debates in the jury could affect this, but it need not. At the end of a strong competition, the decision is very open.

Mitteldeutsche Zeitung

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PostSubject: Re: Michael Kohlhaas (2013)   Sun May 26, 2013 1:52 am

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Joachim Kurz, 24.05.2013

Wenn das mal nicht ein Grund zur Freude für Schüler ab der Jahrgangsstufe 9 ist - Heinrich von Kleists seit vielen Jahren gefürchtete Schullektüre ist wieder einmal verfilmt worden, so dass in Deutschlands Klassenzimmern die Hoffnung aufkeimen könnte, dass man sich auf diese Weise um die Lektüre herumdrücken kann. Die Hoffnung aber könnte sich als eine trügerische erweisen, denn Arnaud de Pallières' Neuverfilmung des Stoffes wurde nicht nur auf französischen Verhältnisse angepasst, sondern ist auch trotz Schauspielstars wie Mads Mikkelsen und Bruno Ganz eine recht dröge Angelegenheit, die zumindest die Zähigkeit der Lektüre angemessen wiedergibt.

De Pallières wesentlicher Ansatz (oder nennen wir es besser Versuch) besteht vor allem in der Verlegung der Vorlage in die französischen Cevennen - was zu der seltsamen Konstellation führt, dass man sich unwillkürlich fragt, was ein deutscher Pferdehändler zu jener Zeit im Süden Frankreichs zu suchen hat und welche Komplikationen sich hieraus ergeben könnten. Diesen Komplex streift der Film aber nichtmal ansatzweise, stattdessen - und auch das erfährt man eher nebenbei - gibt es immerhin eine kurze Episode mit einem wenig überzeugenden hugenottischen Pastor (Denis Lavant), der sich als Hüter der weltlichen Ordnung herausstellt. Ergänzt wurde die literarische Gestalt des Michael Kohlhaas in der Neuverfilmung durch einige neu eingeführte Nebenfiguren, die den Helden in ein Milieu einfügen und ihn eher zu einem Anführer Aufständischer als zum Streiter für abstrakte Prinzipien machen. Das immerhin passt ganz gut zur kontextuellen Verknüpfung mit den Hugenotten-Aufständen des 16. Jahrhunderts.

Ob Mads Mikkelsen hingegen eine gute Wahl als Protagonist in diesem Film war, ist zumindest fraglich. Was weniger an seinen schauspielerischen Fähigkeiten liegt, als vielmehr an der mittlerweile enormen Bekanntheit und seinem Ruf als "Schmerzensmann Europas". Wie letztes Jahr in Thomas Vinterbergs Die Jagd, so leidet er auch in diesem Jahr enorm in seiner Rolle - allerdings mit deutlich eingeschränktem mimischen Repertoire. Zudem könnte man die Rolle eines Michael Kohlhaas durchaus so anlegen, dass der dafür ausgesuchte Schauspieler eine möglichst breite Projektionsfläche bietet. Doch Mads Mikkelsen steht allein durch seine Präsenz so sehr im Fokus der Aufmerksamkeit, dass man in ihm nie die Filmfigur Michael Kohlhaas sieht, sondern in erster Linie den Schauspieler Mads Mikkelsen, der jenen Pferdehändler spielt. Eine wirkliche Identifikation mit dem außer Rand und Band geratenen Michael Kohlhaas, der wohl der erste literarische Ausdruck des heute oftmals gescholtenen Wutbürgers ist, fällt dadurch mehr als schwer.

Wodurch sich fast automatisch die Frage anschließt, was diese Neuinterpretation von Heinrich von Kleists Novelle eigentlich noch Neues zu erzählen hat, was sie jenseits der Werktreue in unserer Zeit auf der großen Leinwand zu suchen hat. Zumindest diese Frage, in Wirklichkeit aber noch viele weitere, lässt Arnaud de Pallières Film offen und verpasst damit die Chance, aus einem Klassiker einen spannenden, weil gerade heute aktuellen Film zu machen. Vielleicht hätte der Regisseur mal besser nach Deutschland geschaut - dort erfuhr der Film nämlich gerade erst im letzten Jahr mit Aron Lehmanns Kohlhaas oder die Verhältnismäßigkeit der Mittel ein sehenswertes und überwiegend gelungenes Update. Vielleiht sollten sich das ja mal Lehrer mit ihren Schülern parallel zur Lektüre der Novelle anschauen - der Gewinn wäre jedenfalls größer als bei de Pallières misslungener Neuinterpretation.


Joachim Kurz, 24.05.2013

If the time is not a cause for joy for pupils from grade 9 - Heinrich von Kleist feared for many years school curriculum has been filmed once again, so in Germany classrooms, the hope could sprout that you can hang around in this way the reading can. But hope may prove to be a deceptive, since Arnaud de Pallières' remake of the substance was not only adapted to French conditions, but is also despite acting stars like Mads Mikkelsen and Bruno Ganz a rather dull affair, which adequately reflects at least the resistance reading .

De Pallières essential approach (or we call it better experiment) consists mainly in laying the template in the French Cevennes - which leads to the strange constellation that you involuntarily ask yourself what a German horse dealer to look at that time in the south of France has and what complications could arise from this. This complex roams the film but not even begin to, instead - and the more one learns the way - there are at least a brief episode with an unconvincing Huguenot pastor (Denis Lavant), who turns out to be guardians of the secular order. Was supplemented the literary figure of Michael Kohlhaas in the remake by some newly introduced secondary characters that fit the hero in an environment and make it more likely to be a leader of insurgents as the champion of abstract principles. The least fits very well to the contextual link with the Huguenot rebellions of the 16th Century.

Whether Mads Mikkelsen, however, was a good choice as the protagonist in this film is at least questionable. What is less to his acting skills, rather than to the now enormous popularity and his reputation as a "man of sorrows Europe". Like last year, in Thomas Vinterberg's The Hunt , he also suffers tremendously this year in his role - albeit a much narrower facial repertoire. In addition, one could certainly create the role of Michael Kohlhaas, so that the actor chosen for it offers a wide screen as possible. But Mads Mikkelsen stands alone with his presence so much in the focus of attention, that you never see him in the film character Michael Kohlhaas, but primarily the actor Mads Mikkelsen, who plays those horse traders. A real identification with the out of control rampaging Michael Kohlhaas, who is the first literary expression of today often maligned probably angry citizen, thereby falling more than difficult.

Thereby almost automatically connects the question of what this reinterpretation of Heinrich von Kleist's novella actually still new to tell what she has to look beyond the faithfulness of our time on the big screen. At least this question, but in reality many more can Arnaud de Pallières film open and missed the chance, an exciting, because just today to make current movie. Classics from a Perhaps the director could have ever looked better to Germany - there learned of the film that is just in the last year with Aaron Lehmann Kohlhaas or the proportionality of the means a remarkable and largely successful update. Lends itself much should it even once look at teachers with their students in parallel to reading the novel - the profit would certainly be greater than de Pallières unsuccessful reinterpretation.

Source: Kino Zeit

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PostSubject: Re: Michael Kohlhaas (2013)   Sun May 26, 2013 2:06 am

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Cannes Check 2013: Arnaud des Pallières's 'Michael Kohlhaas'

By Guy Lodge Thursday, Apr 25, 2013 1:27 PM

(Welcome to Cannes Check, your annual guide through the 19 films in Competition at next month's Cannes Film Festival, which kicks off on May 15. Taking on a different selection every day, we'll be examining what they're about, who's involved and what their chances are of snagging an award from Steven Spielberg's jury. We're going through the list by director and in alphabetical order -- next up, Arnaud des Pallières with "Michael Kohlhaas.")

The director: Arnaud des Pallières (French, 51 years old). As you'd guess from that age, the Paris-born des Pallières is no newcomer: he made his feature debut with "Drancy Avenir" in 1997, and "Michael Kohlhaas" is the third narrative film he's directed since then. There has also been a feature length documentary, 2011's "Poussières d'Amérique," as well as work in shorts and TV. For all his output, however, don't blame yourself if you hadn't heard of him prior to last Thursday: his work hasn't travelled far beyond his home country, and has never been programmed in a major European festival. His most recent narrative feature -- 2008's "Parc," an adaptation of John Cheever's "Bullet Park" starring Jean-Marc Barr and Sergi Lopez -- was programmed by Toronto and London, but found distribution only in France and Italy. In a Competition lineup with no actual freshmen, des Pallières is one of its wilder cards.

The talent: While des Pallières may not be that well-known, his film is stacked with familiar names -- beginning with Danish star Mads Mikkelsen (last year's Best Actor winner at the fest for "The Hunt") in the title role. He's joined by a respectable pan-European ensemble that mixes old hands with fresh faces: Denis Lavant (another of last year's Cannes sensations in "Holy Motors"), Bruno Ganz ("Downfall"), David Kross ("The Reader"), Sergi Lopez ("Pan's Labyrinth"), Melusine Mayance ("Sarah's Key"), Roxane Duran ("The White Ribbon") and rising French teen star Paul Bartel (not to be confused with the late American actor and filmmaker, obviously).

The screenplay was co-written by des Pallières with first-timer Christelle Berthevas; producer Serge Latou's most prominent previous credit is "Waltz With Bashir." Below the line, the most notable name is that of cinematographer Jeanne Lapoirie -- a favorite of Francois Ozon, she also shot Valeria Bruni-Tedeschi's Competition title "A Villa in Italy." And while des Pallières has previously edited his own work, here he's enlisted the services of Sandie Bompar, previously as assistant editor to Claire Denis and Bruno Dumont.

The pitch: A French-German co-production, "Michael Kohlhaas" is an adaptation of the 1811 novella of the same title by leading German writer Heinrich von Kleist. The book, itself based on true events from the 16th century, has a substantial literary following: Kafka was a vocal admirer, and E.L. Doctorow labelled his novel "Ragtime" (which, in an Anglicised hat-tip, features a character called Coalhouse) a homage to von Kleist's story. The story, set in what was then the Holy Roman Empire, follows the title character, a Brandenburg horse dealer incensed when two of his animals are illegally confiscated by a government official, as he mounts an active protest against his country's corrupt bureaucracy -- ultimately resorting to acts of terrorism. des Pallières has stayed true to the story's historical milieu, though contemporary political resonances in the 125-minute, French-language film are said to be intended.

The pedigree: As discussed above, des Pallières isn't a name that carries much clout, even in his home country -- he has never competed at a major film festival, and I suspect that most critics at the festival (this one included) will be sampling his work for the first time here. Still, the lofty reputation of the film's source novel, not to mention the current career status of its leading man, ensures a degree of associative prestige.

The buzz: The film was one of the Competition's more unexpected inclusions, and while it has at this stage generated little audible buzz per se, it does at least have the benefit of our curiosity. When a comparatively little-known name crashes the Competition's A-list auteur gathering, it either means that Thierry Fremaux and his fellow selectors believe they have something special on their hands -- or that complex programming politics are at play. We'll see.

The odds: Until we actually see it, "Michael Kohlhaas" has to be regarded as a long shot for the Palme d'Or -- which has in recent years been very much the preserve of star auteurs. Critic and betting expert Neil Young puts the film in the back half of the pack with odds of 22-1, which sounds right for now, though that's not to say the film couldn't be a surprise hit. Jury president Steven Spielberg might well be sympathetic to a well-executed historical epic. Meanwhile, with a meaty role to chew on here, Mikkelsen stands a chance at becoming the first actor since Barbara Hershey 25 years ago to win back-to-back awards at the festival.

The premiere date: Friday, May 24.

Source: Hitfix

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PostSubject: Re: Michael Kohlhaas (2013)   Sun May 26, 2013 2:31 am

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Cannes Film Festival 2013: 'Michael Kohlhaas' review


John Bleasdale

The 66th Cannes Film Festival just got medieval on our asses with Arnaud des Pallières' Palme d'Or outsider Michael Kohlhaas (2013), a tale of injustice and revolt set in 16th century France. Adapted from the Heinrich von Kleist novella, Pallières' latest follows the plight of its eponymous hero (Denmark's Mads Mikkelsen), a happy and prosperous family man and horse trader who suffers an injustice at the hands of an arrogant young baron. Kohlhaas seeks redress legally, only to be rebuffed and threatened. Tragedy strikes when Judith, his wife (Delphine Chuillot), is murdered, leading our protagonist on the path to vengeance.

The towering Mikkelsen wowed Cannes last year as a teacher stubbornly refusing to bow to injustice in Thomas Vinterberg's The Hunt (Jagten, 2012). Injustice is one again on the menu here; however, as an actor in possession of a range as epic as the Cevénnes landscape against which his latest film plays against, Kohlhaas is an utterly different kettle of fish to mild-mannered Lucas. His quiet power and physical presence evokes precisely the right balance between steadfast principle and sympathetic humanity. Although the story has all the generic elements of a typical Hollywood revenge picture - 'First they took his horses, then they took his wife' - Pallières thankfully doesn't go down the Braveheart route.

Michael Kohlhaas is no rousing epic. The period is realised with an economy which actually benefits the film. There are windy mountaintop scenes, the fog engulfs characters and the autumn leaves provide an almost Gustav Klimt-like backdrop to earlier idyllic scenes. These are people who live in the world; used to walking barefoot on cold stone and taking their baths in the courtyard. (In one stunning sequence, Mads delivers a foal in front of our eyes.) Likewise, Kohlhaas' army is not a CGI-generated horde, but rather a ragtag bunch of misfits, with its own Sancho Panza in Sergi Lopez. Although some of the most significant acts of violence happen off-camera, what we do see is suitably brutal.

An attack on an enemy keep is played out in hushed silence; an important battle is seen in one shot from the hilltop where Kohlhaas and his daughter await the outcome. We, like Mikkelsen's wronged man, take no pleasure in this brutality. This is no power fantasy, and Kohlhaas is presented with the moral implications of his decisions by a protestant pastor, played by the wonderful Denis Lavant. However, after his turn in last year's Holy Motors, it's now difficult to see him without thinking of the waiting limousine just out of shot.

Kohlhaas' predicament is made all the more real because of the ethereal presence of his aforementioned daughter Lisbeth (Mélusine Mayance), making the stakes all the higher - this is a man who still has much to lose. Taking key influence from filmmakers such as Akira Kurosawa in its action, Ingmar Bergman's The Virgin Spring (1960) in its setting and Andrei Tarkovsky in its satisfying depth, Michael Kohlhaas is a sombre and brilliantly-realised period revenge drama, armed with a lurking muscularity.

The 66th Cannes Film Festival takes place from 15-27 May, 2013.

Source: Cine vue

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PostSubject: Re: Michael Kohlhaas (2013)   Sun May 26, 2013 2:42 am

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FILM-FESTIVAL IN CANNESDüstere Dramen unter blauem Himmel

Zwei starke Filme werfen beim Festival in Cannes die Frage auf, wie man sich verhält, wenn man ungerecht behandelt wird. Erstmals spielt in einer Verfilmung von Kleists "Michael Kohlhaas" ein Deutscher die Titelrolle. Laughing [Na nun ist Dänemark schon Deutschland!!!]

Von Hanns-Georg Rodek, 25.05.13

Cannes. Auch wenn "Tore tanzt" in unseren Tagen in einer Hamburger Schrebergartenkolonie spielt und "Michael Kohlhaas" vor mehr als vier Jahrhunderten in den französischen Cevennen – an einem Punkt treffen sich diese einzigen Filme mit Deutschlandbezug, die 2013 nach Cannes eingeladen wurden: Es geht darum, wie man sich verhält, wenn man ungerecht behandelt worden ist.

In Heinrich von Kleists "Michael Kohlhaas" widerfährt einem Pferdehändler von einem Baron Unrecht, und als Gerichte das nicht korrigieren, greift er zur Selbstjustiz und lädt selbst Schuld auf sich. Es ist das deutsche Gerechtigkeitsdrama par excellence, in den bisherigen vier Verfilmungen hat aber noch nie ein Deutscher die Titelrolle gespielt, sondern der Schweizer Max Haufler, der Brite David Warner, der Amerikaner John Cusack und nun Mads Mikkelsen. Der Däne ist der bei Weitem imposanteste aller Kohlhaasen, wie er stolz durch die karge Pracht des Hochplateaus reitet, könnte er gerade vom Set eines "Excalibur"-Films herübergewechselt sein.

Der Regisseur Arnaud des Pallières lässt für sein lang gehegtes Projekt Kleist weitgehend intakt, außer dass er die Handlung nach Südfrankreich verlegt und Kohlhaas zur Frau noch eine Tochter gibt. Pallières taucht seinen Film in ein fahles, spätherbstliches Licht, das Mittelalter dämmert seinem Ende entgegen und der Gesellschaftsvertrag des Absolutismus zeigt sich bereits in Umrissen am Horizont.

Das ist ja auch der Hauptkonflikt bei "Michael Kohlhaas", zwischen dem mittelalterlichen Recht des Einzelnen auf Selbstverteidigung gegen eine willkürliche Obrigkeit und der absolutistischen Rechtsauffassung, wonach Rechtsdurchsetzung ein höherer Wert ist als Gerechtigkeit.

Andere Werke Kleists sind wesentlich häufiger verfilmt worden als der "Kohlhaas" (z.B. "Der zerbrochene Krug" ein Dutzend Mal), und das dürfte daran liegen, dass der Grundkonflikt Selbstjustiz versus Justitia eigentlich entschieden ist; interessanterweise erfolgte Volker Schlöndorffs "Kohlhaas"-Verfilmung 1969 in einer Zeit des Aufruhrs, auch gegen die Rechtsprechung. Davon kann heute keine Rede mehr sein, und so findet des Pallières keine Brücke in die Gegenwart. Mikkelsens "Kohlhaas" ist ein zutiefst historischer, und wie in der Novelle nimmt er das Urteil widerspruchslos hin und akzeptiert es als gerechte Strafe.

Die Akzeptanz der Hauptfigur von "Tore tanzt" ist ganz anderer Art. Wir befinden uns auf einem Raststättenparkplatz, und das Auto des Familienvaters Benno will nicht mehr anspringen – bis ein blonder junger Mann der Kühlerhaube seine Hände auflegt, Jesus um Hilfe bittet und der Motor wieder seinen Dienst aufnimmt.

"Tore tanzt" ist der Debütfilm der 30-jährigen Wahl-Hamburgerin Katrin Gebbe, die an der Hamburg Media School studiert hat, und eigentlich der einzige deutsche Film in Cannes; in "Kohlhaas" stecken zwar deutsche Gelder und eine Berliner Co-Produzentin und David Kross und David Bennent und Bruno Ganz in Nebenrollen, aber bis auf zwei deutsche Sätze wird französisch gesprochen.

Dieser Tore ist ein Jesus-Freak, Gebbes Film jedoch nicht wirklich ein Porträt religiöser Punks. Tore (der Kinoneuling Julius Feldmeier) trifft Benno (Sascha Alexander Gersak, der gerade auch Murat Kurnaz in "Fünf Jahre Leben" verkörpert) zufällig wieder, und der lädt ihn zu sich in die Gartensiedlung ein, zu Frau, Teenager-Tochter und kleinem Sohn. Dort entwickelt sich nun eine für das alles erklärende, alles einebnende deutsche Kino zutiefst ungewöhnliche, verstörende Geschichte.

Die Geschichte von "Tore tanzt" wird unerbittlich zu Ende erzählt
Vielleicht ist es im Wesentlichen die von dem schüchternen Jungen, der den Schulhofschläger desto mehr zum Drangsalieren herausfordert, je friedlicher er ist. Tore jedenfalls, der sich "Jesuskrieger" nennt und das mit dem Hinhalten der anderen Backe ernst meint, wird zunehmend zur Zielscheibe von Bennos sadistischen Instinkten. Und nicht nur von seinen. "Tore tanzt" zeigt mustergültig die Mechanismen der Aggression, die sich bei Nichtwehren noch verstärkt.

Doch Gebbe geht weiter, über Psychologie und Soziologie hinaus, sie nimmt die religiöse Dimension der Jesusfigur Tore ernst. Der hat – im übertragenen Sinn – sein Kreuz zu tragen und er wird darangenagelt werden und all das vielleicht nur, um zwar nicht die gesamte Menschheit zu retten, aber immerhin einen einzigen, konkreten Menschen.

Es wimmelt in "Tore tanzt" vor religiösen Anspielungen, und für die unerbittliche Konsequenz, mit der er seine Geschichte zu Ende erzählt, und für die konsequente Weigerung, sich auf eine Interpretation festzulegen, hat Gebbes Debüt seinen Platz in dem großen Kinolaboratorium Cannes unbedingt verdient.

FILM FESTIVAL IN CANNES Gloomy dramas under blue sky

Two powerful movies throw at Cannes Festival on the question of how to behave when you are treated unfairly. First time playing in a film adaptation of Kleist's "Michael Kohlhaas," a German in the title role.

25/05/13 By Hanns-Georg Rodek

Cannes. Even if "gates dances" in our days playing in a Hamburg allotments and "Michael Kohlhaas" in front of more than four centuries in the French Cevennes - at one point meet these only films related to Germany, were invited in 2013 to Cannes: it is about how to behave when you are treated unfairly.

In Heinrich von Kleist's "Michael Kohlhaas" befalls a horse dealer of a baron wrong and not correct as the courts, he resorts to vigilantism and invites even guilt. It is the German justice drama par excellence, but in the previous four films never before has a German played the title role, but the Swiss Max Haufler, Briton David Warner, the American John Cusack and now Mads Mikkelsen. The Dane is by far the most impressive of all carbon Haasen, as he proudly rides through the barren splendor of the high plateau, he could just off the set of a "Excalibur" film be changed over.

The director of Arnaud Pallières be largely intact for his long-cherished project Kleist, except that it moves the action to Southern France and Kohlhaas is still a daughter to wife. Pallières dips his movie in a pale, late autumnal light, the Middle Ages dawns to a close and the Social Contract of absolutism is already evident in outline on the horizon.

That is also the main conflict in "Michael Kohlhaas," between the medieval individual's right to self-defense against an arbitrary government, and the absolutist interpretation of the law, according to law enforcement, a higher value than justice.

Other works of Kleist have been filmed much more frequently than the "Kohlhaas" (eg "The Broken Jug" a dozen times), and that might be because the basic problem is vigilantism versus Justice actually decided, and interestingly was Volker Schlöndorff's "Kohlhaas" film adaptation 1969 in a time of turmoil, even against the law. There can now be no question, and so the Pallières is no bridge to the present. Mikkelsen "Kohlhaas" is a deeply historical, and as in the novel he takes the judgment, contradiction and accepted it as just punishment.

The acceptance of the main character of "gates dancing" is a completely different kind We are located on a rest area parking lot, and the car of the father Benno does not want to jump - to a fair-haired young man, the hood hangs up his hands, Jesus asks for help and the engine resumes its service.

"Gates dancing" is the debut film of the 30-year-dial Hamburg, Katrin Gebbe, who studied at the Hamburg Media School, and actually the only German film award at Cannes in "Kohlhaas" While stuck German funds and a Berlin co-producer and David Kross and David Renames and Bruno Ganz in supporting roles, but up to two German sentences spoken French.

These gates are a Jesus Freak, Gebbes film but not really a portrait religious punks. Gates (the cinema newcomer Julius box Meier) meets Benno (Sasha Alexander Gersak who embodies "Five Years of Life" especially Murat Kurnaz) by chance, and invites him into the garden settlement one to wife, teenage daughter and young son . It should have one for the all-explanatory, leveling everything German cinema developed profoundly unusual, disturbing story.

The story of "gates dances" are told relentlessly to end
Maybe it is essentially the, the peaceful he is the shy boy who the more challenges the bully to bullying. Gates anyway, who calls himself "Jesus warrior" and serious about turning the other cheek, is increasingly the target of Benno's sadistic instincts. And not only of his own. "Dances Gates" shows exemplary the mechanisms of aggression, which is further enhanced with non-weirs.

But Gebbe continues on psychology and sociology addition, it takes the religious dimension of the figure of Jesus goals seriously. Has - in a figurative sense - to carry his cross and he will be nailed to it, and perhaps only, not to save all that the whole of humanity, but at least a single, specific person.

Teem "gates dances" of religious allusions, and the relentless rigor with which he tells his story to an end, and for the consistent refusal to commit to an interpretation Gebbes has debut absolutely deserves its place in the great theater laboratory Cannes .

Source: Abendblatt Hamburg

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PostSubject: Re: Michael Kohlhaas (2013)   Mon May 27, 2013 3:21 am

Quote :
Daily | Cannes 2013 | Arnaud des Pallieres’s MICHAEL KOHLHAAS

“Sober, intense, closer in feel to the 1970s historical films of Werner Herzog.”

By David Hudson May 24, 2013

“An old-fashioned, Robin Hood-style revenge tale that favors self-serious storytelling over action and suspense, Arnaud des Pallieres’s Michael Kohlhaas provides a few quick thrills and some beautifully photographed landscapes,” writes Jordan Mintzer in the Hollywood Reporter, “but never really convinces as an intellectual’s swords-and-horses period piece—even when it’s the formidable Mads Mikkelsen who’s holding the sword…. Based on Heinrich von Kleist’s novella, this is actually the second screen adaptation following a 1969 version by Volker Schlöndorff, which also played in competition at Cannes. The original text, written in 1811, was based on the true story of a 16th-century German merchant who, after a local baron seized his horses, sought redress in the public courts before launching a private terror war, until he was eventually captured and executed.”

“The film is a striking departure for hitherto-marginal French director des Pallières, best known for idiosyncratic documentaries and a bizarre, modernist John Cheever adaptation, Parc.” Jonathan Romney in Screen: “The sober, intense Michael Kohlhaas is closer in feel to the 1970s historical films of Werner Herzog, or to Roman Polanski’s Macbeth—with a dash of Sergio Leone in the equestrian action. And the film’s most idiosyncratic touch is a dark desolate atmosphere that registers as distinctly medieval, rather than 16th-century.”

Back to the Schlöndorff adaptation for a moment, because Variety‘s Jay Weissberg holds it up as an interesting contrast. Schlöndorff “added newsreel footage on the European release prints showing student protests around the world. The device served to make direct parallels between the novella’s themes and the unrest of ’68, highlighting the continued vitality of a tale featuring a morally upright figure resisting the corrupting influences of power. Kleist himself, a determinedly political author writing in 1808, used the based-on-fact case to draw comparisons with Napoleon’s thirst for dominance. Oddly, given the richness of the theme, helmer Pallieres seems more inspired by landscape than by history or any contemporary resemblances.”

Des Pallières’s version “has a slow contemplative quality in which every action is carefully considered, words are few, and little is seen of the violent deeds beyond sweat on men’s faces and trickles of blood gleaming in darkened rooms,” writes Barbara Scharres at RogerEbert.com. “Through nearly all of Michael Koolhaas, Mikkelson has been seen as alternately proud, passive, concerned, or worried, none of these emotions causing much of a ripple across his sharply chiseled face. In the final minutes, as he ascends a scaffold for his execution, his face is transformed by the successive emotions of a frightened and regretful man about to die. It’s a wonderful flash of what Michael Koolhaas might have been.”

The Guardian‘s Andrew Pulver notes that “des Pallières has a fine eye for the rough-hewn physicality of the period; the clanking metal of the weaponry, the squeaking wooden axles of the carts, the ragged homespun fabric of the clothing. He also comes up with some rather brilliantly staged sequences: a raid on a baronial fortress by Kolhaas and his crossbowmen; a curious visit by youthful princess Marguerite that catches hunky Mads in the bath; an intriguing scene where Kolhaas is criticized by a charismatic clergyman played by Denis Lavant. But for a story that seeks to remind us of the harshness of pre-modern life, the whole is very emotionally soft-focus.”

And Variety‘s Elsa Keslassy reports that Music Box has picked up North American rights.

For BFI programmer Geoff Andrew, writing for Time Out London, “Arnaud de Pallieres’s film succeeds neither as a decent adaptation of the book nor as a rewarding movie in its own right. Transplanting the action from Germany to the Cevennes and almost exclusively using exterior locations was an unwise move, and though Pallieres has spoken of his desire to make a kind of western, the changes simply highlight the way he has stripped down the original narrative. This paring back only serves to make the precise legal and logistical details of Kohlhaas’s mission less comprehensible than in the novella.”

“One should never complain about too many closeups of Mikkelsen,” writes Wesley Morris at Grantland, “but a wide shot of something else would have been nice. Anyway, it’s just not a film you talk about the next day. It’s a film you don’t even remember you saw. And I just watched it an hour ago.”

Source: Fandor

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PostSubject: Re: Michael Kohlhaas (2013)   Mon May 27, 2013 3:25 am

Quote :
Michael Kohlhaas: justice shall be done

by Domenico La Porta, 24/05/2013

With one selection for six films, it cannot be said that French director Arnaud des Pallières is used to being in competition in Cannes. The 66th Cannes Film Festival welcomes him with a tale of valorous revenge borrowed from German author Heinrich Von Kleist, who published his short story in 1811. Michael Kohlhaas [trailer] (Mads Mikkelsen) is a horse-dealer in the 16th century who falls victim to feudal injustice. Offhandedly dismissed when he asks for compensation and the victim of bloody retaliation, Kohlhaas takes up arms and embarks with a handful of men on a crusade against the lords, taking the law into his own hands for as long as it takes to obtain justice.

A costume drama with the main role played by a Danish actor who had to learn French for the occasion, Les Films d’Ici did not make the least ambitious choice in producing this film. Reconstitution is expensive, but can be made cheaper by moving most of the scenes outdoors. The rocky plains of the Cévennes provide a natural backdrop perfectly suited to this medieval western genre, governed by high principles, virtue and a religious stance. Mikkelsen is convincing and his natural charisma, on foot or on horseback, is often enough to make his character imposing; while he does not say much, he speaks well in a credible French. The actor has a physical ability for the role and we understand why the director went to the trouble of casting him in his movie instead of a French actor who would have been an additional challenge. His character is accompanied by typical roles, mostly well-attributed for the limited tasks that are assigned to them. Halfway between Robin Hood and a muffled Braveheart, Michael Kohlhaas avoids all forms of radicalism, in terms of both violence and staging. Particular attention has been paid to the photography and sound, adding value to the production. The editing does not require any patience on the part of the spectator, who will easily be carried along by this relatively sober story that Volker Schlöndorff adapted in 1969 with a more assertive author approach. Nevertheless, the film works well in its action moments, in spite of failing to unite its audience around its principle, which does not always allow for any emotional identification with the character, this great upholder of justice faced with the eternal.

(Translated from French)


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PostSubject: Re: Michael Kohlhaas (2013)   Mon May 27, 2013 3:34 am

Quote :
Mads Mikkelsen back after Cannes win with French role

24 MAY 2013 - 17H25

AFP - Danish star Mads Mikkelsen fires crossbows, delivers a baby colt and speaks fluent French in the Renaissance drama "Michael Kohlhaas", which joined the competition Friday at Cannes.

Mikkelsen, who picked up the festival's top actor prize last year for his turn as a man falsely accused of child abuse in "The Hunt", plays a 16th-century horse dealer who rises up against a feudal lord.

Director Arnaud des Pallieres moves the German literature classic by Heinrich von Kleist to his native France, giving Mikkelsen his first French starring role.

Kleist based his 1811 novella on a true story of a merchant who rampages through rural Germany after an aristocrat wrongs him.

In the film, the province's young lord confiscates two of Kohlhaas's prized black steeds.

He seeks legal recourse in the nascent justice system but when his case is rejected, he forms a ragtag militia to rise up against his rulers.

Kohlhaas scores an unlikely series of battlefield victories.

But when he has the opportunity to overthrow the established order, he forgoes his chance as his demand for a review of his lawsuit is granted.

Mikkelsen, who played the Bond villain Le Chiffre in "Casino Royale" and is now appearing as the cannibal psychiatrist Hannibal Lecter on US television, said learning French for the part was not the biggest challenge.

"Obviously I had to learn to ride (a horse) and I had to learn to speak French to a degree, that was a lot of preparation there... but that's push-ups. The real work is with the director and the fellow actors," he told reporters after a well-received press screening.

Mikkelsen, 47, said he and the director agreed not to do countless takes and get bogged down in perfecting the language.

"Working in French is obviously very, very difficult when you're Danish. And we made a pact that I would work as much as I could -- constantly, nonstop," he said.

"And when we were shooting the scenes, we would not talk about it any more, that was it. That was the deal, and we kept it. We tried to make a space where I could do what I'm hopefully best at, be present in the moment and not think too much about the words."

Des Pallieres said the story of a successful merchant and loving father who becomes a radical militant resonated strongly today.

"I think this is the most beautiful historical tale you could tell: a man who could seize power but chooses not to out of a sense of honesty and moral rigour," he said.

"It's as modern and contemporary as historical -- it applies both to Kleist's time and our own."

Mikkelsen said he was attracted to Kohlhaas as a radical character whose motivations are open to wide interpretation.

"Whether we see him as a hero, a villain or a revolutionary -- it's up to each individual," he said.

"Michael Kohlhaas" is among 20 films in the running for the Cannes Film Festival's Palme d'Or top prize on Sunday.

Source: france 24

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PostSubject: Re: Michael Kohlhaas (2013)   Mon May 27, 2013 3:48 am

Quote :
Cannes 2013: "Michael Kohlhaas" d'Arnaud des Pallières en compétition

Le HuffPost | Par Alexis Ferenczi
Publication: 24/05/2013 07h21 CEST

CANNES 2013 - XVIe siècle, le royaume de France est secoué par le désir de vendetta d'un marchand de chevaux floué par ses suzerains. Michael Kohlhaas est le film en costumes du Festival emmené par Mads Mikkelsen - lauréat du dernier prix d'interprétation masculine - à découvrir vendredi 24 mai.

Qui: Arnaud Des Pallières adapte une nouvelle de l'auteur allemand Heinrich von Kleist pour son premier film en compétition à Cannes. Après des débuts de comédien au théâtre, le cinéaste français a décide de faire la Femis et de passer derrière la caméra. En 1997, il signe Drancy Avenir, réflexion sur la déportation. Il livre ensuite Adieu, l'histoire d'une famille réunie pour l'enterrement d'un de ses jeunes membres. Puis Parc (2009), adaptation d'un roman de John Cheever, portrait froid du monde contemporain.

Avec: À 48 ans, Mads Mikkelsen a remporté le Prix d'interprétation pour La Chasse de Thomas Vinterberg en 2012. Révélé par son compatriote Nicolas Winding Refn et sa trilogie Pusher, l'acteur danois est venu une première fois à Cannes, hors compétition, présenter Coco Chanel & Igor Stravinsky, de Jan Kounen (2009). Il se lance pour la première fois en français. À ses côtés: Amira Casar, Bruno Ganz, Denis Lavant et Sergi López.

L'histoire: Au XVIe siècle dans les Cévennes, le marchand de chevaux Michael Kohlhaas mène une vie familiale prospère et heureuse. Victime de l'injustice d'un seigneur, cet homme pieux et intègre lève une armée et met le pays à feu et à sang pour rétablir son droit.

Cannes 2013: "Michael Kohlhaas" Arnaud Pallières in competition

HuffPost | By Alexis Ferenczi
Posted: 24/05/2013 7:21 CEST

CANNES 2013 - sixteenth century, the kingdom of France was shaken by the desire for vendetta a horse dealer cheated by his overlords Michael Kohlhaas is the costume drama festival led by Mads Mikkelsen -. Winner of the last Best Actor - to discover Friday, May 24

Who Arnaud Des Pallières adapts a novel by German author Heinrich von Kleist for his first film in competition at Cannes. After starting out as an actor in theater, the French filmmaker decides to Femis and get behind the camera. In 1997 he Drancy Avenir thinking about deportation. He then book Farewell, the story of a meeting for the funeral of one of his young family members. And Park (2009), an adaptation of a novel by John Cheever, cold portrait of the contemporary world.

With: At 48 years, Mads Mikkelsen won the Best Actress Award for The Hunt by Thomas Vinterberg in 2012. Revealed by his compatriot Nicolas Winding Refn's Pusher trilogy and the Danish actor first came to Cannes, out of competition, introduce Coco Chanel & Igor Stravinsky, Jan Kounen (2009). He starts for the first time in French. At his side: Amira Casar, Bruno Ganz, Denis Lavant and Sergi Lopez.

The story: In the sixteenth century in the Cevennes, the horse dealer Michael Kohlhaas leads a successful and happy family life. Victim of the injustice of a lord, this pious and upright man raised an army and put the country with fire and blood to restore his rights.

Source: Huffington Post

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PostSubject: Re: Michael Kohlhaas (2013)   Tue Sep 10, 2013 8:49 pm

How sad, it got so quite on the board... One poster (hats to Luin) just isn't enough... And unfortunately due to my work load (and not a waning interest in Mads!) I couldn't participate as much as I wanted to...

But back to the topic Michael Kohlhaas!
It will be released in Germany this thursday though I don't have the time to watch it before next week (always another festival at the theatre...). The reviews in Germany are rather on the low side but of course I will watch it nonetheless. Here in Berlin they show the original version of the film too (and I hope also in the second week) which made me very glad after I heard Mads German voice in the trailer!
More after I saw the film...
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PostSubject: Re: Michael Kohlhaas (2013)   Mon Sep 23, 2013 9:38 am

annesrake wrote:

But back to the topic Michael Kohlhaas!
It will be released in Germany this thursday
It is??? Or rather was??!!!??? I totally missed that! And I so want to see this film! Shocked 
My ususal Arthouse is only screening some sort of Kohlhass Mockumentary ... whyy?Crying or Very sad 

also, on a completely different note: Mads' Kohlhaas reminds me of Geralt from the Witcher Series by Andrej Sapkowski.

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PostSubject: Re: Michael Kohlhaas (2013)   Mon Sep 23, 2013 10:45 am

Has it been released everywhere?
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PostSubject: Re: Michael Kohlhaas (2013)   Tue Sep 24, 2013 9:12 am

Finally today I could watch the movie - last week I had been ill...
And yes: It's German release was last week.

I must say I liked the film very much.
Aside from Mads looking incredible good, it is a film not that easy accessed: on one hand it is told very slow, on the other hand the story is told only in spotlights (I guess it helps to know the original though it is not totally necessary). Lots of landscape, not much dialogue. And a very ambivalent main character: Is he a fanatist who doesn't care about what happens to anyone due to his fight for justice? Is he a terrorist or a rebell? Or is he just a man who wants justice?

I was quite happy to watch it in French with subtitles as I didn't like Mads German voice in the theatrical trailer...

Here you will find an interview with Mads for a German TV station - but no worry, it is in English! Laughing I must say his English improved quite a lot after doing Hannibal, don't you think? Though I really miss his 'sh'-sounds he always made instead of the s... Sometimes it still comes through... Razz
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PostSubject: Re: Michael Kohlhaas (2013)   Sun Nov 03, 2013 9:35 pm

I'm not sure, if anybody is still here and will read this. It's so sad, that this forum is nearly dead. I would like to post here a lot of information I find about Mads, but noone ever reacts, so it's stupid to post it only for me. Rolling Eyes 

Two days ago I had the chance to watch "Michael Kohlhaas" in a small art house cinema in Leipzig. Cool 

As a fan of Mads I can say the film is: WOW! affraid (in a positive way) Mads is nearly 70 % on screen and looks adorable: brown skinned, relaxed, with his beautiful white-grey long hair. I really love his style in the movie. He has no scars or something, which bother his great body. You can see nearly all of him (There were some men who show everything, but Mads not, even if he had some scenes, when it would be possible to show it. But I'm not sad of it, because for a famous man like he with crazy female fans it would be THE theme for a long time with many pictures at the internet.), even his feet. I often thought: Yeah this picture would be a great wallpaper! I was nearly faint about his face - his dark eyes in the brown face with this hot cheekbones. So beautiful!

But yeah - there mustn't be a movie, just to see a handsome guy on big screen. A movie has to have a good storyline and should me left with questions or answers to think about after watching it. But Michael Kohlhaas left me unemotional with the charakters in the movie.

I never read the book (but I will do it), but the story is to understand. But there are only the facts told in the movie. Kohlhaas wants his horses back as he left them, because that is justice.

annesrake wrote:
And a very ambivalent main character: Is he a fanatist who doesn't care about what happens to anyone due to his fight for justice? Is he a terrorist or a rebell? Or is he just a man who wants justice?
This questions you metioned, I never asked. I mean for myself I said: I wouldn't act like Kohlhaas, because justice doesn't legitimate a war and the death of many people. By the way: Does Kohlhaas has killed the baby too?

There were too little scenes with Kohlhaas, which show his mind, thoughts, reasons, doubts. Even this scene with the priest (?) wasn't satisfied for me. Because Kohlhaas never answered the questions. He was sorry for the dead people (or you could interpret it like that), but you don't hear anything what's going on in his heart or his mind. He only speaks his mind, but then it was his stubborn idea to get the justice he deserves. Not the reasons why he wants it that way. On one hand it's ok, not to say everything, but in this case nobody is showing anything and that's unsatisfied.

That relates to another problem of the movie: There is only one character, which is important - and that's the silent Michael Kohlhaas. There are maybe two of his companions, which could show 10 % of his character (the other ones zero!!!). His wife gets a dress, has sex and watched the birth of a horse. Then she argues one or two minutes with her husband and the next scene she dies. I wasn't sorry for her, because I haven't anytime to get close to her and like her. She was only a woman, who must die after 15 Minutes. The way she must die was of course sad, but I wasn't sorry - not for her, for Kohlhaas or the daughter.

It's the same with the daughter. She had more screentime, but she could never show her inner site. She has to do, what her father decided (what's historical correct), but she can't do or say anything. She only do what she is told to do.


So the story was reduced to much and the concentration of Mads character was great for a fan to see him 70 % of the film, but the character was too silent and has noone to (re)act with. He lives in his universe and noone was inside. The other characters made only what Kohlhaas told them without an own opinion/thoughts/feelings.

The pictures of the movie are great (I mean a lot of Mads), but the horses are very beautiful to watch. The music ... I don't know, I don't remember it. It was nice to have a funny song at the last scene. That was a good idea. But rest of the movie, I'm not sure, if there were any music. Wink 

He get's 2 of 5 stars (and 6 of 5 for Mads). I will buy the DVD, but only to see Mads again and again. I'm not sure, if Mads is in any other movie more beautiful then in Michael Kohlhaas (in my eyes).

I watched it in German and yeah, the voice was different but not bad. I became accustomed to it very fast. But it would be great to have only one person, who synchronise Mads. A friend of mine always grumps, if Mads hasn't the voice of Ivan. Laughing

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PostSubject: Re: Michael Kohlhaas (2013)   Sun Nov 24, 2013 2:42 pm

Quote :
„Ich brauchte die Energie der Elemente“

Das Interview führte Alexander Musik, ORF.at, Publiziert am 02.11.2013

Der französische Regisseur Arnaud des Pallieres hat Heinrich von Kleists Novelle „Michael Kohlhaas“ in die karge Berglandschaft der Cevennen verlegt und mit dem dänischen Superstar Mads Mikkelsen die Idealbesetzung für den gerechtigkeitsliebenden Pferdehändler gefunden. Mit ORF.at sprach Des Pallieres über seine persönliche Kleist-Rezeption und die gewollte Entsprechung zwischen Landschaft und Hauptfigur.

Kein Wort zu viel, kein üppiges Kostüm, kein bombastischer Soundtrack: Des Pallieres hat aus Kleists Novelle „Michael Kohlhaas“ von 1810 zweifellos einen Film mit sehr persönlicher Handschrift und - über weite Strecken - Mut zur Reduktion gemacht.

Neben Mikkelsen als gerechtigkeitsliebendem Rosshändler, der nach an ihm verübtem Unrecht eine halbe Armee aufstellt, um zwei Pferde unversehrt zurückzubekommen, brillieren in dieser westernartigen deutsch-französischen Koproduktion die ausgezehrten, expressiven Gesichter von Kohlhaas’ Mannen - und die kongenial ins Bild gerückte Landschaft der südfranzösischen Cevennen samt dem Spiel der Elemente, die sich im Bild und auf der Tonspur widerspiegeln dürfen.

Auch wenn die Essenz der Kleist-Novelle mitunter ins Hintertreffen gerät, berührt dieser „Michael Kohlhaas“ dank des sorgfältig gearbeiteten Drehbuchs und der elliptischen Montage.

ORF.at: Muss man erst ein gewisses Alter haben, um Kleist zu verfilmen?

Des Pallieres: Ich habe den Text mit 25 entdeckt und zuvor hatte ich schon andere, sehr wichtige Texte Kleists gelesen. Ich bin heute froh, 25 Jahre gewartet zu haben, um diesen Film nach Kleist zu machen, denn vor 25 Jahren hätte ich meinen Fokus mehr auf den Heroismus der Figur gelegt, während der fundamentale Pessimismus und Anti-Heroismus dieser Novelle mich heute am meisten interessiert.

Damals hätte mich wahrscheinlich das Erstarken der Revolte Kohlhaas’ am meisten interessiert. Heute ist mir ein einziges sehr starkes Bild von damals in Erinnerung geblieben: der Moment, in dem Kohlhaas, der gerade dabei ist, in einer entscheidenden Schlacht den Sieg über das Land zu erringen, auf den Sieg verzichtet, seine Armee auflöst und dann wieder zu dem gewöhnlichen Pferdehändler wird, der er war.

Eine unglaubliche Szene. Denn aus moralischer Unerbittlichkeit auf die Macht zu verzichten, wenn sie schon mit Händen zu greifen ist, das ist außergewöhnlich genug und eine der schönsten politischen Geschichten, die man überhaupt erzählen kann. Kleist hat sie, wie ich merkte, als ich den Text ein Vierteljahrhundert später wieder las, in einer einzigen Zeile zusammengefasst.

ORF.at: In der ersten Hälfte des Films gibt es kaum Dialoge, dann taucht ein Geistlicher auf und hält eine Rede. Plötzlich scheint der Film das Register zu wechseln, wird sentenzhaft.

Des Pallieres: Dieser Geistliche hat die Macht des Wortes im Gepäck. Er ist ein Intellektueller und ein Mann mit politischer Macht. Im Buch ist es Martin Luther, und da ich die Geschichte „französisiert“ habe, ist es eine Figur zwischen Luther und Calvin. Von den Dialogen in der Novelle habe ich nur wenige übernommen, diese Szene ist eine Montage aus Luthers Briefen. Luther war äußerst streng gegenüber den Bauernaufständen, ich habe eine Montage aus diesen gemacht.

Aber der Film ist doch auch danach wieder relativ wenig geschwätzig. Er ändert sich aber durch die Gegenwart dieser Figur, die eine Armee aus Worten mit sich führt.

ORF.at: Kohlhaas scheint sich aber doch von den Worten des Pastors überzeugen zu lassen, die Waffen niederzulegen.

Des Pallieres: Nein, er ist zwar durch die Argumente des Theologen drauf und dran, schwach zu werden - doch nur unter der Bedingung, dass ihm Gerechtigkeit zuteil werde. Erst durch den Brief der Prinzessin, die ihm Amnestie verspricht, ändert er seine Haltung und kehrt ins Zivilleben zurück.

ORF.at: Gegen Ende, als Kohlhaas schon im Gefängnis sitzt, wechselt er mit einem Vertrauten, dem deutschen Schauspieler David Kross, einige Sätze auf Deutsch, die einzigen im Film. Warum an dieser Stelle?

Des Pallieres: Kohlhaas sitzt ja mit seiner kleinen Tochter im Gefängnis. Sein Vertrauter, ein Prediger, fragt ihn voller Furcht, ob er wisse, auf welche Weise er sterben müsse. Damals begnügte man sich ja nicht damit, Aufständische einfach zu töten. Man musste ein Exempel statuieren und Verurteilte oft unerträglichen Qualen aussetzen, indem man sie räderte, verbrannte oder häutete. Kohlhaas wusste, dass er all das riskierte. Da aber die Prinzessin die Reinheit seiner Absichten erkennt und auch, dass man ihm Unrecht getan hat, bleibt ihm das Leiden erspart.

Kohlhaas möchte nicht, dass seine Tochter dieses Gespräch mit anhört. Also reden beide Männer in einer Sprache, die sie nicht versteht. Es könnte die Muttersprache der beiden sein.

Als ich Mads Mikkelsen engagierte, wünschte ich mir, er hätte keinen Akzent, wenn er Französisch spricht. Als wir zu drehen begannen, merkte ich aber, dass er seinen dänischen Akzent immer noch hat. Genau so wie David Kross einen ganz leichten deutschen Akzent hat. Als wir diese Gefängnisszene drehten, habe ich mir gesagt: Das ist doch ein Weg, um den Akzent Kohlhaas’ zu rechtfertigen.

Kohlhaas ist ein Händler, der sich entschlossen hat, in den Cevennen, im Süden Frankreichs, zu leben. Er kommt aus einem anderen Land, einem nordischen. Und daher kommt auch der neue Glaube: der protestantische. So konnte ich für ein frankophones Publikum die Originalsprache der Novelle zitieren.

ORF.at: Wollten Sie von Anfang an in den Cevennen drehen? Oder war das eine Frage der Fördergelder?

Des Pallieres: Ganz und gar nicht. Es ging um die Gefühlslage der Figur, der Novelle, der Gefühlslage, die ich mir für den Film wünschte. Gleichzeitig hatte es etwas sehr Praktisches: Wenn man einen Film macht, der im 16. Jahrhundert angesiedelt ist, sucht man eine bewahrte Landschaft. Die am meisten geschützte Landschaft in Europa, das sind die Berge. Doch es geht auch um die Ähnlichkeit zwischen dem Charakter der Berge und der Figur. Ich möchte sogar sagen: dem Gesicht der Figur, so wie ich sie sehe.

ORF.at: Archaisch?

Des Pallieres: Ernst, zerrissen, großartig. Für mich gibt es eine sehr starke Verbindung zwischen dem Gebirge und dem Gesicht meiner Hauptfigur.

ORF.at: Nicht nur die Berge spielen eine Rolle, auch die Wetterverhältnisse. Stehen die heftigen Stürme und Wetterwechsel im Drehbuch?

Des Pallieres: Ich wusste, dass ich für die Bilder und den Ton Energie brauchen würde, alle Energie, die mir die Wildheit und der Kontrast der Elemente geben können würden. Daher haben wir beschlossen, genau zwischen zwei Jahreszeiten zu drehen. Während der acht Wochen Drehzeit hatten wir einen glühenden Sommer und einen fast winterlichen Herbst im Vercors. Wenn man in freier Natur mit natürlichem Licht dreht, sind die Elemente mehr als nur ein Bonus. Sie sind ein Schauspieler für sich. Ich musste so nah wie möglich an der Gewalt der Elemente sein, um den Geist der Kleist’schen Novelle wiederzugeben.

ORF:at: Eine naturbelassene, weite Landschaft, deren Distanzen zu Pferde überwunden werden. „Michael Kohlhaas“ ist auch ein Pferdefilm.

Des Pallieres: Sicher, dessen waren wir uns von Anfang an sehr bewusst. Der Film hat etwas von einem Western: Weil es um Menschen und Pferde geht und, wichtiger noch, weil der Film auf moralischen Fragen beruht, was ja das Wesentliche des Western ist.

ORF.at: Ein Wort zu Mads Mikkelsen. Stimmt es, dass Sie keinen französischen Schauspieler für die Hauptrolle finden konnten?

Des Pallieres: Ich hatte eine fast obsessive Vorstellung von Kohlhaas’ Charakter und seinem inneren Feuer. Damals suchte ich einen Schauspieler zwischen Jacques Dutronc aus „Van Gogh“ von Pialat und dem Clint Eastwood von vor 20 oder 30 Jahren, so wie er in „Pale Rider“ aussieht. So ein Typ ist nicht so leicht zu finden. Wenn ich mir jetzt anschaue, wie Mads Mikkelsen die Figur verkörpert hat, glaube ich felsenfest, dass nur er der Figur eine solche Menschlichkeit und ein solches Feuer geben konnte. Es gab ein geheimes Rendezvous zwischen Michael Kohlhaas und Mads. Da bin ich ganz sicher.

ORF.at: Am Anfang des Films musste ich einmal lachen: Mads Mikkelsen und sein Pferd haben fast die gleiche Frisur.

Des Pallieres: Ich werde es ihm sagen.

„Michael Kohlhaas“ startet am 7. November in den österreichischen Kinos.

Offizieller Trailer (YouTube)

Heinrich von Kleist (Kleist-Gesellschaft, Uni Köln)

"I needed the energy of the elements"

Interview by Alexander Music, ORF.at, published on 11/02/2013

French director Arnaud has Pallieres of Heinrich von Kleist novella "Michael Kohlhaas" laid in the barren mountains of the Cevennes and the Danish superstar Mads Mikkelsen found the ideal candidate for the justice-loving horse dealer. With ORF.at Des Pallieres talked about his personal Kleist reception and the intended correspondence between landscape and main character.

Not a word too much, not a lavish costume, no bombastic soundtrack: Des Pallieres has undoubtedly from Kleist's novella "Michael Kohlhaas" of 1810 a movie with a very personal style and - given courage for the reduction - over long distances.

Besides Mikkelsen as justice loved horse seller, the half Army prepares after verübtem at it wrong to get it back two horses unharmed, shine in this western-like German-French co-production, worn out, expressive faces of Kohlhaas' men - and the congenially into the picture gerückte landscape of southern France Cevennes, along with the play of the elements that may be reflected in the image and on the soundtrack.

Even if the essence of Kleist novella sometimes fall behind, touched this "Michael Kohlhaas" thanks to the carefully crafted script and the elliptical assembly.

ORF.at: Do you only have a certain age in order to film Kleist?

Des Pallieres: I have discovered the text with 25 and before I had read another very important texts of Kleist. Today I am glad to have waited 25 years to make this film after Kleist, because 25 years ago I would have put my focus more on the heroism of the figure, while the fundamental pessimism and anti-heroism of this amendment interests me most today .

At that time, probably the rise of revolt Kohlhaas' most would have me interested. Today me a single very powerful image of the past is remembered: the moment in which Kohlhaas, who is just about to achieve victory over the country in a decisive battle, to dispense with the victory, his army dissolves and then back to the ordinary horse-dealer, is that he was.

An incredible scene. For to refrain from moral relentlessness on the power, if it is already palpable, that is extraordinary enough, and one of the finest political stories that can be told at all. Kleist, as I realized when I reread the text a quarter century later, summarized in a single line.

ORF.at: In the first half of the film, there is little dialogue, then dipped a clergyman, and gives a speech. Suddenly, the film seems to change the tab is "sentenzhaft".

Des Pallieres: This minister has the power of the word in their luggage. He is an intellectual and a man with political power. In the book it is Martin Luther, and since I have "Frenchified" the story, it is a figure between Luther and Calvin. From the dialogues in the novel I have just taken over, this scene is a montage of Luther's letters. Luther was extremely strict with the peasant uprisings, I made ​​a montage of these.

But the film is yet again even after relatively little talkative. But he is changed by the presence of this character who leads an army of words with him.

ORF.at: Kohlhaas seems yet to be convinced by the words of the pastor, lay down their arms.

Des Pallieres: No, he's through the arguments of theologians on the verge of fainting - but only on the condition that justice might come unto him. Only by the letter of the princess who promises him amnesty, he changes his attitude and return to civilian life.

ORF.at: Towards the end, as Kohlhaas already is in prison, he changes with a confidant, the German actor David Kross, a few sentences in German, the only ones in the film. Why at this point?

Des Pallieres: Kohlhaas is sitting with his little daughter in prison. His confidant, a preacher asks him full of fear, if he knew how he was going to die. At that time, not contented themselves so yes, insurgents easy to kill. You had to make an example and convicted often expose the intolerable suffering by being räderte, burned or skinned. Kohlhaas knew he risked all that. However, since the princess recognizes the purity of his intentions and also that one has wronged him, he spared the suffering.

Kohlhaas would not want his daughter listens to this conversation with. So the two men talking in a language she does not understand. It could be the mother tongue of the two.

When I dedicated, Mads Mikkelsen, I wish he would have no accent when he speaks French. When we started to turn, but I noticed that he has his Danish accent still. Just as David Kross has a very slight German accent. When we shot this prison scene, I said to myself: That's one way to justify the accent Kohlhaas'.

Kohlhaas is a dealer who has decided, in the south of France to live in the Cevennes. He comes from a different country, a Nordic. And so comes the new faith: the Protestant. So I was able to quote the original language of the amendment for a francophone audience.

ORF.at: Did you want to turn right from the start in the Cévennes? Or was it a question of funding?

Des Pallieres: Not at all. It was about the emotional state of the figure, the short story, the emotional state that I wanted for the film. At the same time it had a very practical thing: When you make a film, which in the 16th Century is located, is looking to a preserved landscape. The most protected landscape in Europe, these are the mountains. But it is also about the similarity between the character of the mountains and the figure. I would even say that the face of the figure, as I see it.

ORF.at: Archaic?

Des Pallieres: Serious, ripped, great. For me there is a very strong link between the mountains and the face of my main character.

ORF.at: Not only the mountains play a role, even the weather. Are the violent storms and weather changes in the script?

Des Pallieres: I knew I would need energy for the pictures and the sound, all the energy that can give me the wildness and the contrast of the elements would. Therefore, we decided to just rotate between two seasons. During the eight weeks of shooting we had a red-hot summer and an almost wintry autumn in the Vercors. If you turn in the great outdoors with natural light, the items are more than just a bonus. You are an actor in itself. I had to be in the violence of the elements to reflect the spirit of Kleist's novella as close as possible.

ORF: at: A natural, broad landscape, the distances to be overcome on horseback. "Michael Kohlhaas" is also a horse movie.

Des Pallieres: Sure, of which we were very aware from the beginning. The film has something of a Western: Because it's about people and horses and, more importantly, because the film is based on moral issues, what's the essence of Western.

ORF.at: A Word About Mads Mikkelsen. Is it true that you could not find a French actor for the lead role?

Des Pallieres: I had an almost obsessive idea of Kohlhaas' character and his inner fire. At that time I was looking for an actor between Jacques Dutronc from "Van Gogh" by Pialat and the Clint Eastwood of 20 or 30 years ago, just as he looks in "Pale Rider". So a guy is not as easy to find. When I look now how Mads Mikkelsen has embodied the character, I believe firmly that only he could give the figure such humanity, and such a fire. There was a secret rendezvous between Michael Kohlhaas and Mads. As I am sure.

ORF.at: At the beginning of the film I had to laugh again: Mads Mikkelsen and his horse have almost the same hairstyle.

Des Pallieres: I'll tell him.

Official Trailer (YouTube)
Heinrich von Kleist (Kleist Society, University of Cologne)

Movie Note:
"Michael Kohlhaas" starts at 7 November in the Austrian cinemas.

Source: ORF (Austria televison) translator: google

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