Mammuts on cotton balls, albinos to pharaohs

Game without limits: in "10.000 BC" Roland Emmerich has a couple "What’s what"-File filmed

Once upon a time, behind the jungle. Boy meets girl. Also in the Stone Age has already worked, mostly at least. In this case, it is a mammothjager d’Leh, who pursues a blue-eyed course after her debut of slave hagers throughout the world. He meets good wild people and good wild animals and a Bose Bose civilization. All this in more or less coarse pixels. "I never wanted to make a movie that stops slavish on facts", says Emmerich, "I just knocked my motifs together."

Mammuts on cotton balls, albinos to pharaohs

All pictures: Warner

Exceptionally, let’s say it once and universally, Roland Emmerich is probably a genius. And we are too small to realize his coarse to extinguish the depth of his fantasies to completely understand the power of his visions. We can only train, only traces of tracking, just go to the knees and acknowledge that here is a coarse than we. Probably Emmerich itself is that "Child with the blue eyes", from which is paid in his new movie. That child, once descended from the snowy mountains of the Schwabische Alb, to drive across the world window to the Nebelland on the edge of the earth, in that rich beyond all imagination, and to rescue the font there and save his people before destruction.

Many moons ago, this Emmerich was a sanger of the world of the world, one of the more saw, as usual mortals, one who sent the gods behind the world edge a message, and that brought us a sign "a sign that the end of the earth is imminent." We boys, inexperienced, doubt have always misunderstood, did not want to horen and can not know what this has told a woman and we said. He has given us myths and happy messages, with large heroes, still coarse love stories, large prophecies, and allegrobed resurrection.

A Homer of our Age

In any case, a genius is Harald Kloser, Bunte readers so far known as an ex-husband of Desiree Nosbusch, this Homer of our era, who wrote the script together with Emmerich together. Very young to his first, that of ingenuity and imagination and fresh courage just overrupt like the virgin source in the March. And as if that’s not enough goods, Kloser also acts as a co-producer of the film and as his composer: a real genius.

The music in this rough, previously unobstructed song of the original time is exactly so ingenious and visionar and strive to with every note to new shores, as you would expect from a man who has already set up such masterful works as well as "Dresden", "The storm flood", "The tunnel", "A handful of grass" and "Nothing but the truth", All of Roland Suso Richter, even such a genius, or "Marlene", That sensitive biopic of the German Director Godzilla Josef "Rama Dama" Vilsmeier. But one after another.

When the last mammoth bone is cut off

People 10,000 before Christ were already just like us; Since one could go on the strain, and we did not notice the difference.

Roland Emmerich

"Do you see the light, it does not move under the sky?" So she looks like the world 10.000 years before Christ birth. The snow is called "Woman rain", The people "old Mother" and "Green Jager", or "Tic-Tic" and "Evolet" and in the evening at the campfire when the last mammoth bone is banned, tell yourself for example "The legend of the child with the blue eyes."

It is naive as Roland Emmerich imagines the naivitat of early history; Sometimes the dialogues of his new film remember a marching book for children, at best at Karl May – although that is probably unfair, because such Ode and Plump, overall his audience for stupid selling is not a children’s book. Everything is paid by Omar Sharif, or. Armin Mueller-Stahl in German synchronization, which makes the film not worse here, exceptionally.

Mammuts on cotton balls, albinos to pharaohs

On the other hand, the pictures of this movie remember "What’s what"-notebook – "The primitive man", "Suction animals of the past", "Pyramids" – Or an average knowledge DVD: something too colorful, much too Americanized and gradually remedy. And like the dialogues, some pictures are just involuntarily funny.

"Who dances with the sabel toothed"

I think the story figures was invented at the same time as the fire: When you get lost, you see how these payments are all awarded. And for the classic hero myth, it does not matter if it is as a science fiction as Star Wars or as a prime-time fantasy like 10,000 b.C. The ingredients are always the same: the mentor, the hero, a young woman in danger.

Roland Emmerich

"The legend of the child with the blue eyes" could also live Emmerich’s new movie, or "Eternally the mammoth cow dreams" or "Who dances with the sabel toothed". Measured at the high sound of the whole movie "10.000 BC" properly modest, on the other hand again hidden again as monumental and rough crowd as the rest. Because if not the future, then it must be gaaaaaaaaanz far back in the past, in a time that nobody has ever seen niiiiiiieeeeemist ever seen. Auber Emmerich. However, the five of the title are far from the only zeros of this film.

For in contrast to the knitted knowledge DVD for children, almost nothing is right about what is being paid here and is Mel Gibson "Apocalypto", which has a similar action process into individual scenes (cf. Montezuma’s revenge), a really good movie: Emmerich’s prehistoric volcus consists of neo-hippies with Rasta curls like a Tubinger Ethnology seminar, is hammered on the forehead with dirt and otherwise so visible on darkness as the Beachkiddies at the Langnese-Spot.

Incidentally, everything is aseptic Clean. The hero d’Leh (an anagram for "hero", Played by Steven Strait) is a heroe with such pure innocent soul that he, after being in the mammoth hunt "The woman spear" (That looks too roughly ridden – at Emmerich, everything is too rough – toothpicks) and thus its blue-eyed and comparatively clean evolet ("Et Love" or "Love-et", Played by the admittedly hubing Camilla Belle) has conquered, mindbiss. Because he was less heroic than all thinking, but only gluck had. So he gives the straight-reached Trophaen straight back – which takes him especially evolet ubel. Especially since she was remunerated the next morning of slave hagers – she had spent a loving night in his hollow with d’leh, she would probably have been spared like this.

Mammuts on cotton balls, albinos to pharaohs

at all the collection through the slavejager, which one in one in one in "Apocalypto" saw: Not only most people stay here – there is no single women raped. If Gibson’s latent sadism was already annoyed, then Emmerich’s clean Schwabic-okological, latent moralizing Puritanism completely outstanding. This is in the consequence of its earlier films. For historical truth, Emmerich was never in it, but always about monumental messages. His freedom towards the facts was never mistaken, but always ideology (see no mistakes, but ideology).

A convenient and uneconfed presentation of "Rough"

I develop a script on its own risk. If I believe it’s done, I’ll send it to all rough studios at the same time. They get it Wednesdays at 12 o’clock at noon, and mostly it is sold on Thursday.

Roland Emmerich

More than once you ask yourself how many cups of this man still has in the closet: the story of a Mammothjager, who moves from the mountains of Africa through the Sahara and other climates to Egypt, where precisely a pra-agypal culture with the help of Gedniggent Mammuts (!) With tagged stobs the pyramids of Giza (!!) Built on on the way against Sauriergrobe Moorhigher with Keube Moorhuhny Hunting and from a dozen laughing overdresseder African tribe, which on applications like "Abu Hababi" with "Aba taballe" Answers, a coalition of the willing blacksmith to liberate his lovers expired by slave hagers is so absurd and crazed, which had to doubt Emmerich’s mind, he did not know that he has always been to those in the film industry, which is one of stupidity and cynicism fluctuating first and above all around the business scissors, no matter what price is connected thereto; Did not you know that there was never anything in his films, beyond an overall and uneconfed presentation of "Rough".

Sometimes an alien attack, sometimes Godzilla in Manhattan, sometimes a new ice age (see superstorm with frosty embassy) – that was better or worse, sometimes manifestig with political rags, always expensive and technically state of the art – but a soul had it’s never. Only "Trusts and technology" (Adorno). You can still find fun and like to watch, if this director like a coarse child, that you have enclosed on the night alone in the toy division of a department store, just makes what it wants, without boundaries. It does not have to be true, what you see, it’s all kind of warring, and that the pyramids were built 7000 years later that Sabelzahtiger in Africa before 500.000 years are extinct, Emmerich also – he makes fantasy and no less crowded as Disney or Rowland and no less ideologically than Tolkien.

Schwaben are known to be teachers, priests or terrorists and some also film directors – but a little bit of the rest is also in Emmerich. If we remember his earlier films, then we encounter the same number of adjustments: Son and father (or "Mentors", How Emmerich likes to call that in interviews). The sons rebellize first or wise ancestors and tradition, only to be painful to be a better taught and in the end to hike in the shoved of the paternal tradition. In this case, d’leh is an outcast, because his father once stalked the trunk and now is considered a coward. In the end, he turns out to be a visionar that advance climate change. The sickness is corrected. This pattern is with Emmerich so dominant that you could already know what it has with this man: What has hurt him so that he has to spread his narcissistic disease now and again before a million audience? That he has to steer father-son payroll with son knay-to-cross scenes over and over?

Nuba, morningland and gay self-hatred

My ideas are always rough!

Roland Emmerich

In addition there is a total view and racism: as Fraulein Riefenstahl once traveled to the Nuba and photos of nobler, healthy, musculoser, naked negicaries, with thick necks and coarse penis as humans from the other star, so composed here Emmerich his own personal African symphony. But they are guided by a good light-skinned men’s terrace, from strong and well and warriors, and blue is the particularly beautiful Madchen, of course,.

The boses, however, come from the morning country. They have hookennases and bose looks, their priest caste, fursten and koniges are infantile and at the same time gender, sexless or albinos or polymorph perverted or all at once, at least with all classical insignia of degeneration – the latter is amazed at Emmerich and can help this director, which is open to its own gay, are understood only as self-hatred.

"… that she never got back Jagery, but warriors."

In short, the human image in this film is drawn with racist symbolism and has a fascist basic tone: "Major actor with beaded upper lips I just did not want", says the director with disarming openness.

This is supplemented by a fundamental civilization-critical train, which – as Emmerich’s desire for downcast and Apocalypse – reminds of the worst traditions of the cultural history of the turn of the century and runs this film, as almost all other Emmerich films,. Espmerich has always enjoyed the insignia of Western civilization, the insignia of Western civilization: equal three times that "liberal", "capitalist", "intellectual", "Judisch", In short, Libertinare New York, then the "decadent" British destroyed.

Technology and progress are consistently occupied in these films, the culture as here a project of colonizers and / or slave drivers. The good are Jagery and life originally or better yet: "Old mother knew she would never be Jager again, but warriors." They ate fuub through the forest and dead with hand weapons, at best with spears.

Mammuts on cotton balls, albinos to pharaohs

Emmerich’s camera, which initially wore Tolkien-like over the snow-capped mountains, forms the protect panoramas soon to the pure surface of an ornament of the mass that aims only on visual overwelling. And Emmerich is also a filmmaker who at "Mass" Only Riefenstahl’s rich party films come in, as with body you "Olympia". In other words, all that is fascist asthetics in pure culture.

NTscho-Chis death

URGGH URGGHH. Ooog Arrggg Gruggggg Gggggg Googggg Urrr Gruurrr Gurr Gourrburg Gaarr Gaharg Gurgh. Gutchgh!

Dialogue line off "1 million years b.C.

"1 million years b.C." At some point in the distant 60s, a trash spectacle, in which Raquel watches blessed in a sexy flokatist bikini by the prehistoric scenes, and Ray Harryhausen animated by Stop Motion Technique Dinosaurs herds. As "When the women had snowed" With the German Raquel Welch Senta Berger a pretty laughable Guilty-Pleasure candidate for a potential retrospective with original-time film trash beads in the Munchner Workshop cinema, which is also obvious "In the beginning was the fire".

There will also be Emmerich’s 988.000 years of early settled Machwerk once ending. In twenty years you will learn from this movie much about our zeitgeist, as today from the German Karl-May movies of the 60s. Also with those you can "10.000 B.C." Compare well.

Because when Evolet dies at the end of Virgin, then it reminds of the dialogues to the death of Nsho-Chis: "A happy, but fast first laughing played around her hereditary lips. "Old – Shatter – – hand! … You’re there! Well – – I die – – so – – -" Even old mother is not a reincarnation of the "matrix"-Oracles, but a primeval edition of Kleki-Petra.

Dumbo, Lassie and XXL

The problem of "10.000 BC" So it’s more than anything else the abysmal stylistic tastelessness and content stupidity with which the whole thing belongs. Also this has XXL format. But fantasy also needs coherence and rules, at least its own, and beauty.

Mammuts on cotton balls, albinos to pharaohs

However, if Sabelzahtiger are blurred, transparent and two-dimensional in spite of all the fine pixel, and mammoths like cotton balls dumbos flying on postcard backgrounds, it is hazy and silly and then does not help rushing sound design to make everything credible.

No wonder they are extinct. And if people communicate here with just threatening sabent toothers like at the time Liz Taylor with Lassie and when dead people just resurrect again, then the absurditat and imposition has reached a dimension that is indispensable. Too rough for us.

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