All pictures: kinowelt film rental
A game of powers and coincidence: the psychotriller "unknown identity" bring hitchcock and polanski to berlin and schindler, hitler and stauffenberg on the same screen
Taxi drive in berlin, you know it, can be dangerous. Since the drivers take the way from the parisian place to tegel the way over the upper tree bridge — and then land in the spree. In berlin, the capital of the incremented and newfunden identities, the historical brackishment, is all possible. To the high chart also comes the subtle irony of a curious role constellation, which brings schindler, hitler and count stauffenberg together on the canvas.
The biotechologist dr. Martin harris (liam neeson), an excellent scientist, travels together with his wife gina — january jones, who is already the same as a woman who has emerged a noir "icy blonde", bildhubsch and much better looking as stephanie zu guttenberg — to berlin to participate in a scientific congress and "keep a lecture". The couple rises in the hotel adlon, because harris notes that a luggage stuck is reflected at the airport. He returns.
On the way back harris' taxi is involved in a serious accident — an accident that may no coincidence. Only with a lot of gluck comes the man with the life of it. Only after four days of artificial coma he wakes up in the hospital — but when he wants to prove his identity, no one seems to know him, including his wife, and in the hotel lives on their side another man, also biotechnologist. His name: dr. Martin harris!
That's pure romantic, not just german. The double-gang motif, the scare of the ego, when it encounters himself, we know from many gothic valley, and this story, which is easily confused from the beginning, you have to understand as a march of surrealism.
Life than others
This man who knew, who knew, has now lost his thought and hold for someone else? Or is that all about a boser dream? Or was instead the arrival in berlin tabled? Or he has become the victim of a conspiracy? Or he exchanges everyone and wife it much better? The truth schillert in many colors and at least we have spectators quickly clear: nothing is here, how it seems.
This is known from the classic psychotrillists of an alfred hitchcock, such as the more modern siblings from the hands of roman polanski and brian de palma. Now the spaniard sends himself to jaume collet-serra, to enter the fibers of such masters: his new thriller "unknown identity" connects voltage with charming lightness.
And above all, he does not have to take advantage of the preference to be seriously serious — that's why you accept the hanbuchen action, conspiracy, sliding and identity changes, in which, among other things, larger parts of the german capital berlin are placed in rubble and ash, very much comforted with the many to be like this movie, which has the stuff to modern classic: the pleasant flair of an old-fashioned thriller, with what "unknown identity" that's exactly what is donnersmarck "the tourist" liked goods.
"We germans are experts in forgetting"
With the chuzzpe of a good b-movie director, collet-serra rubs the city center in itself and assembles it back together at will. An imaginares kreuzberg looks like a third-world or new york in the spades of 1970s, small arabia, the run-down apartments have papier, and nurses prevail "gretchen erfurt". So he conquers the venue berlin, through which the film becomes a wonderful berlin movie, to an anti-sarrazin berlin movie, because he sympathizes once good immigrants, in front of which no need to be afraid.
The film is largely in its thorough way to make politics: a man becomes an illegal "sans paper" and is therefore looking for refuge and help with illegal "sans papers" to make themselves visible again and to be legal — during the illegal just to be invisible want. The subgrounds economy. In addition, the film has a busy list, which with the world stars liam neeson, bruno quite, diane kruger and sebastian koch also with subtle irony a curious roll constellation all-ironic schindler, hitler, and the hitler attesta stauffenberg and bridget from hammersmarrck together on the canvas.
Great here with smile and other incredibly a variety of visible pleasure a man who came out of the cold, a pretty sympathetic old cognac swallowech and ex-stasi captain — "with pride!" — named ernst jurgen, on whose wall memorials from the cold war hangen.
He says some sentences that still sound different from his mouth: "i want details", "i remember the good old times." or: "we germans are experts in forgetting: first we forgot the nazi times, now communism." or: "the question is why would they want to take your place?" and he wife as an old voice expert — guttenberg leave pits -: "the man who tells the truth, doesn't change the story." so the here also mixes an icy hint of john le carre with a back-containing humor.
This is how the "hotel adlon" flies in the air, the most honest sides of the friedrichstraben break. So belong this in an action movie. Otherwise "unknown identity", after a novel of the frenchman's didier van cauwelaert, somehow, a great thing also stages a huge swab — and you are trying to write that nouns, more precisely: the name of his screenwriter oliver butcher, here is also omen.
Above all, this is a classic "guilty pleasure", a guilty pleasure, so a movie, the gross spab makes, but only because every woman, not least the movie and its makers themselves, that you can never confuse them with gross art and should.