widthGods in the sky also have editors Acute respiratory disease Degeto “everything is arranged by size, quantity and weight”. Gender, skin color, age group, and sexual preference must be reflected in the characters in the feature film at a consensus ratio. The screenwriters are stung by the thorns of creativity, and it is a great art to crack it. Robert Krauss and Bette Fraunholz managed in their submission for Ed Herzog’s film “3.5 Hours”, even if people clearly noticed the political instructions regarding fair representation, there are some specious s things.
On the morning of Sunday, August 13, 1961, on the regional train D 151 from Munich Central Station to Berlin Ostbahnhof, a retired old couple from East Germany picked up the ashes of the woman’s late brother from Munich, but do not go Garmisch-Partenkirchen visits his escaped son. There is a “girl from the East”-this is the weather-beaten Martin Feifel, as the detective inspector Koch, praised as little Sabine (Hannah Schiller), because he knows what a lifetime achievement should be-as a whole German gymnast champion. But there are also the grooms Rudolf Hoffman and Ingrid Byrne and their youngest son Hans Byrne. They can clearly see that he is likely to be left by a professional black American soldier. In any case, he was already very happy that he would have a “new dad” soon, and did not realize that the new dad would soon be replaced by his criminal history under National Socialism.
Labor is sorted
The Küglers, he is an aircraft engineer, and she-yes, what is it actually? -At least the daughter of a policeman and a staunch communist, gender-symmetrical, with a shrewd son and an ambitious daughter. The bold four-piece band we met while hugging in bed in the first photo—like the world is a catalogue of samples—is as symmetrical as a couple of lovers. But that’s not all: the woman who loved her was exposed as an informant for Stasi, but this did not bother him, because-as a Jewish survivor of the Holocaust-he has learned that only in his own heart can there be real free. Because there is no wish to be unsatisfied.
In addition to the fact that the staff on the train have been pre-classified by the ARD steering committee, the questions they have to ask themselves in the film are equally serious: the passengers learned through the portable radio that the East German leadership is building a wall in Berlin, and the German branch has already Be specific. They have three and a half hours to go to the regional boundary to decide where to live. Anyone driving outside Ludwigstadt will accept-without knowing exactly-living in East Germany for 28 years.
Now the content of the negotiation in the dialogue has a certain weight, because the decision is not so easy. The communist Marlis Kügler (Susanne Bormann) pointed out that women in the Federal Republic “have fallen into the Third Reich in terms of liberation”. As proof, the parallel story shows Luisa-Céline Gaffron playing the work permit of the steam engine driver Edith Salzmann in East Germany.
When Siggi Tremper (Karl Schaper) slapped his lover Peter Laschke (Johannes Meister) hard, he was stunned: “Man, we are still in the West.” The Nazis tightened the form, and East Germany had already The prosecution has been suspended for a long time. One more thing: “In the West, you can’t live on five marks a day,” band guitarist Sasha Goldberg (Jeff Wilbusch) told singer Carla Engel (Ellie Neumann) Pointed out.
In the process of weighing a decisive decision, a new tone can be noticed in the debate with East Germany on public television. This debate has been heard in the third season of the “Charité” series: if there is a choice, who It is not stupid, cowardly, or ideologically blind to decide which part of Germany he or she wants to live in and choose East Germany. There are reasons to prefer the attachment to Orientals and landscapes rather than the West’s commitment to freedom. The guarantee of a successful life-Martin Feifel also expressed this-has nothing to do with any decision.
The film is a bit distrustful of the importance of its negotiated issues. Excellent drama without exception creates enough tension to give up moving cameras, constantly tumbling images, and Stephen Weir’s-basically good and atmospheric-music. Ellie Neumann, who played singer Cara, wrote some songs for the film together with Jonathan Cruise. They can perform the movie well, even though they are not suitable for that era in style, and the band is more reminiscent of Veronika Fischer in East Germany in the 1970s. The editor Christoph Perland is convinced that the film “will enter the school’s history curriculum.” To be honest, it was shot with this intention.
3 ½ hours The first one runs on 8.15 this Saturday night.
