A history of film, in the "historic" not only means that the actors fit the arising costumes like a glove, mill, Yes, by nature, a Zwick: He's supposed to be history and yet has to be Drama. He makes a present out of a past, and the tension is responsible for the truth, but the truth for the voltage.
The Truth grows with the importance of the topic, ethical, and aesthetic. The Voltage requirement is, therefore, not less; and the life of Huldrych Zwingli and the cause of the Zwinglian Reformation of Zurich owed a decent poor creature, the Zurich Bible, "treülich verteütschet", and over the centuries an early grave similar to the night's rest, are not yet big enough to be sloppy.
to reproach With all due respect: are the teaching, although some teaching, not boring, meticulously costumed, not too violently-colored history film "Zwingli" by Stefan Haupt no Schludereien. Neither religion, historically, biographically, and atmospheric. Reality, concentrations, omissions, linguistic modernisms, wholesome sentiment, and something to healthy teeth, of the historical staff are the lies and long History.
The Zurich Reformation, which was in a very word, is images powerful Film. You could consider this a contradiction, for betrayal of the spirit of a Protestant bareness, but what the heart and head of which? In case of conflict between history and cinema, the film critic is on the side of the cinema. That would be the side of tolerance and the desire for Drama, Touching, and not necessarily of the Guaranteed.
Perhaps it comes about "Zwingli" but not at all in conflict. Because history as a science is also no Peas. She also sees truth as a process of perception and Imagination.
A bit more complex than in "Zwingli" is it referring, at the time, between 1519 and 1531 certainly behavior with the motivation of the batch of the reformers, and to Reform. Less organized in the "cuts between the reformation chapters. Less individual heroic, in the theological creativity. Less gentle in manners strict, and less clearly in the socio-political sense of justice.
A model of telling and remembrance
the game film, and his dramatic pattern (writer: Simone Schmid) goes like this: A man comes into a town and do what a man has to do. Zwingli (Max Simonischek) is, it is a cleaning plant applied in these weapons - and the rats staring time of the pestilence and of the hell of belief, the greed of the Church, the misery of the poor, the gluttony of the Rich, and the God of criminal military ascendancy.
No one else can, and when the plague befalls him, saves him is the love of a woman (Sarah Sophia Meyer) and is a woman, the priest's husband, and also the fit wondrously in the story of the transformation of Catholic sin in reformed freedom. You lead a hero to the light and in the death for the new Faith.
To the historical fact of the death was not in the Film, to shake, of course, that is why the message at the end, the old believers, the enemy have hacked after the second Kappeler-battle in 1531, the Zwingli, burned, and the winds scattered. However, as it is with heroes: Then life begins at Zwingli.
So this Film is a model of telling and remembrance, and as such, it can be something to a model, and the reformation saved. But perfectly, in Forbearance, compared to some of the stereotypes (of what a Catholic Bishop does, while he is considering anti-reformation strategies? He stuffs poultry inside). There is also the slag and the contradictions of Zwingli's pragmatism not forget the unfortunate mixture of ritual, Strict and city political calculation that carried the Overflow of Anabaptists in the Limmat river.
the Pleasant contradiction
Even Stefan Haupt's staging is at its best in the moments of the contradiction. In the moments of immediate presence of sensation in a living past mood. The human warmth of the last uncertainty: in the scene from the famous, almost daily "eat a Sausage" (1522) is then, for example, that you eat as in the movie the forbidden meat, such as communion wafers, and you can feel a group of determined conspirators quasi-tremors of fear and pleasure on sacrilege. Or there true modernity of the middle ages: in the clever presentation of the Zurich mayor Diethelm Had (Stefan Kurt) is a clever Alliance politician, the Catholic Church can no longer long lead on the nose ring.
A few days after Zwingli's 535. Birthday "Zwingli" now Premiere. In the course of this reformation of the year, especially in Zurich, students should have free ideas access. The fits, it is a very educational work. Maybe this will help him in more Mature youth, Max Simonischek is a non-staubter reformer. In the juice of his power and a little bübisch the Defy. In addition, cassock and urine are good at.
as of Thursday previews in a Packed cinema (Zurich, Bern, Basel, Biel / Bienne). Cinema starting on may 17. January. (editor-in-Tamedia)
Created: 08.01.2019, 19:20 Uhr