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Interesting, but Kehr missed Das Boot .

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Points to ponder:

>Petersen shows good pulp sense in setting up the atmosphere and action...<

"Pulp sense" is a pejoritive. How would Kehr suggest Petersen "set up the atmosphere and action?"

>...reinforcing the claustrophobia with a sophisticated soundtrack and cutting the suspense sequences for a shrewd orchestration of audience emotion.<

What point is Kehr trying to make? That a documentary of life in a submarine sans soundtrack and quick-cut editing would make the interor shots less claustrophobic?

>...its careful avoidance (or rather, displacement) of the moral and political issues involved can seem too crafty, too convenient.<

This comment, heavy with indignation, has little if any relevance to the film. Das Boot wasn't intended as a cinematic treatise on the morality of Nazism, or of the political ethics of Germany at the time. Did the audience thus "conveniently" forget the Germans were the enemy?

Kehr apparently believes Petersen, a German, made this film as a paean to the Third Reich. Did Petersen "craftily" gain audience empathy for the crew of the U-boat in their goal of sinking allied ships? Was Petersen, indeed, deceitful? If so, how and who was deceived?

>...Jurgen Prochnow as the scruffy, anti-establishment captain...<

Scruffy, yes. Under the circumstances, could he have been otherwise? The reference to anti-establishment is perhaps the closest Kehr comes to interpreting what Petersen intended. A professional navy officer, Prochnow's political perfidy still can't overcome his loyalty to "the cause." In the end, he dies as did Rommel, an accomplished military man, and a disbeliever in the politics of country.

In the end, "Das Boot" became a contemporary morality play. Perhaps Mr. Kehr would disagree.


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  • Interesting, but Kehr missed Das Boot . - gino 10:26:33 08/01/00 (0)


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