Two men, a seventy-year-old and a mid-thirties, crouch in front of each or in a brown panelled host hall. Drink beer on beer and also liquor. Outside host garden and Upper Bavarian Lake, in here only se two, far and son.
For a half and a lifetime, two never had anything to say. Or just wrong one. The old innkeeper Pankraz wanted to be an opera singer, in Munich and in wider world. But his older bror was very much in First World War and so crazy that at some point in village church next door, he shot his head on wall of God. This is, in a black and white reminders, a great moment in Josef Bierbichlers film, in which he, as lead actor, has also directed and written book for first time. Bierbichler alias Pankraz, who was once pressed by far: he had to take over farm and farmer’s economy, instead of bror. Even n, much has gone wrong in Pankraz family, with faith, love, hope for life.
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The old man now tells his son named semi in empty hall, where it often went high and sometimes dull. Carnival in Fifties in Afrikanerkostüm or with Hitler beard and swastika Gaudi. But, we are in 1984, Woman of Pankraz died, semis mor, and funeral and feast of corpse have gone, or guests. Wife and mor dead, after a lot of dumb brooding, time of reflection has come for far and son. For even semi felt, apart from compassionately pitying mor, never understood. He was sent early to Catholic boarding school for “Holy Blood”, where a priest abused him. Now he wears a beard, is a godless Communist for far, thanks to ‘ 68. Once semi, Bierbichlers physical son (and host in Munich) Simon Donatz plays with a wonderfully dark-melancholy look, in brown-grey world of far too colourful, and he pours him a half over his head.
Two elderly men as ghosts of Holocaust
After death of his wife (elegiac and at same time vital Bavarian: Martina Pankraz), he is so tired of himself that he does not strike back. He only looks at curiously delighted mentality that is peculiar to as always monumental tender, fabulously present Josef (Sepp) Bierbichler. Look and see with infinite melancholy on his life, which has already long been lived.
“My head is an empty dance hall, some wired roses and crumpled ribbons on floor, broken violins in corner, last dancers have taken off masks and look at each or with todmüden eyes.” This comes from Georg Büchner’s Leonce and Lena, but it could be a poetic quote of this in mache rar altmeisterlich conventional cinema.
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Two men in suit are called three-generation epic, which plays only in and around Pankrazische economy with homestead and meadows, except for a few short scenes. Where beer business heritage of Sepp Bierbichler from Ambach on Lake Starnberg is very well known. The title figures do not, of course, mean two protagonists in empty hall. Instead, re are two foreign guests outside in garden, who will later go swimming in hat and suit. Two elderly men as ghosts of not only Bavarian history, but rar: Holocaust.
Suspense between pathos, grotesque and comedy
Without revealing furr details about this at end also surprising appearance: The two replacers are wanted, but unfortunately y also work like this. What is in Sepp Bierbichlers Roman medium-rich, which appeared in 2011 and which gives presentation to film, appears immensely multi-layered and linguistically from dialectal to Kleist-like set of Cascades, which in (after all) almost three film hours is naturally shortened. But according to art, this literary customary painting could have been translated into German Catholicism, Nazism and, from fifties, economic-whimsical consumerism into own images. After all, re are home movies that turn into abysmal, painful images of world.
Here it has only been handed to images in a stoic narrative that alternates between far and son’s perspective. Probably even without financial means, visions like one from realistic to fantastically enhanced winter storm, Pankraz in turn soos with Wagner chants, visually stronger to grasp. This also applies to scattered Holocaust memory, with a macabre Tabori quote (for connoisseurs). This is something of an emphasis that film, orwise without any emotional music, does not need at all. The suspense, however, between pathos, grotesque and comedy, which characterizes Bierbichlers play and writing, still flashes in individual scenes – even once with phrase: “I was never a Nazi. But I never was a Nazi. “
“Two men in a suit” has been running in German cinemas since March 22nd.
