歡迎到維也納 / Welcome in Vienna1986[Wohin und zurück3]阿塞尔·科蒂Alex Corti

豆瓣網影評：http://movie.douban.com/subject/3092771/

导演: Axel Corti
制片国家/地区: Austria
语言: German
上映日期:1986-09-04
IMDb链接:tt0090336

　http://i.mtime.com/ezdyscg/blog/7575852/

《在哪里回来》三部曲：由已故的奥地利导演阿塞尔·科蒂执导。格奥尔格·斯特凡 特罗勒编写，电影描写托勒在美国避难的一个维也纳犹太少年 ，成为一个美国士兵在第二次世界大战期间返回家乡的一个传奇故事。
导演： 阿塞尔·科蒂
类型：剧情
运行时间：109分钟。
演员：阿明·缪勒 -斯塔尔，汉斯·乔治·耐腐蚀性，弗里茨Muliar，芭芭拉·佩特里奇，约翰银施耐德，Falar加为好友埃利亚斯，埃里克席尔德克劳特
三部曲之一：上帝再也不会相信我们了/上帝不在相信我们
在1938年底，维也纳被纳粹占领。托布勒码头，一个犹太少年目睹了反犹太主义在大街上。回到家里，他发现他的父亲自杀。他决定逃离。寻求去美国的签证，他去了领事馆，在那里他遇到了甘地一位反纳粹的德国军官和阿伦娜一名年轻女子，他们必须穿越欧洲战场，在战争中赢得自己的自由...
三部曲之二：SANTA FE 圣达菲
在1940年的纽约。 大批逃离的难民在托布勒码头 的“通卡”船上，一个年轻的奥地利犹太人和来自马赛的同胞弗雷迪·沃尔夫。弗雷迪找到一份工作，在熟食店作一个推销员，他和老板的女儿 产生了爱情。弗雷迪带他去圣达菲的梦想，也随着美国加入与德国战争化为泡影。他决定加入美国军队返回到欧洲抗击纳粹德国。
三部曲之三：WELCOME IN VIENNA 欢迎来到维也纳
1944年在维也纳的欧洲，战争已经结束了。 弗雷迪 沃尔夫和乔治·阿德勒，移民到美国，但原来的奥地利和德国士兵成为美国军队。 战后的维也纳是一片废墟，分为四个区域，黑市至高无上。 奥地利 拒绝承认自己是纳粹主义，而是无辜的受害者，人们适应以及可能的系统，但弗雷迪拒绝虚伪，仍然存在着从她的年轻的女演员克劳迪亚的爱。

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http://www.nytimes.com/1988/07/24/movies/alex-corti-s-films-explore-world-war-ii-s-impact.html?pagewanted=all&src=pm

[機譯，后附英文版]

''圣达菲，奥地利犹太人在二战期间在纽约找到了避难所疲倦地说有关他的前同胞，他们永远也不会原谅我们为他们做了什么给我们。

这句话是在电影和获奖的电影三部曲“的心脏”和返回，其中''''圣达菲“目前电影论坛 - 构成的第二部分。随着第一部分，上帝不相信我们的了“（其共同特征，在电影论坛上二套），并欢迎在维也纳'''' - 上个月所示 - ”圣菲“ '不仅包括奥地利的反犹主义，但具有讽刺意味的??健康剂量的超越异化和怀旧酸痛，使少数幸运的犹太人。

阿克塞尔尔蒂，奥地利导演的三部曲，这是一部自传体电影剧本由乔治·斯特凡控制器的基础上，这条线是真实的。电影制片人上个月在巴黎接受记者采访时说，“不仅在政治上：即使在恋爱中的人之间，有时人会不会原谅他或她没能成功地做在其他。正是这种心理的复杂性，把他个人被迫反对第二次世界大战的背景下，重塑自己的身份的故事。

“上帝不相信我们了''（1981年）开始于1938年，在维也纳费迪南德（Johannes Silberschneider的） - 一个犹太青年，突然成为孤儿 - 通过捷克斯洛伐克，巴黎和马赛在早年的战争。他的未来时代的故事交织在一起的故事“甘地”（阿明·缪勒 - 斯塔尔）。这个字符，谁加入了抵抗组织的前德国军官，被囚禁在达豪和逃到奥地利，纳粹迫害犹太人的主题延伸到抵抗者。

“圣塔菲”（1985年） - 国际新闻和东京在1985年蒙地卡罗电视节奖 - 到达纽约港的难民谁相信他们终于安全和自由的赢家。但是，对于流亡谁说话“Emigranto的，作为一个较为成功的新美国人把它，调整是一个艰难的过程。

这部电影的重点是弗雷迪（加布里埃尔Barylli），一个年轻的奥地利作出了新的生活在美国西部神话谁的梦想。但是其他的字符都同样生动，从同化摄影师波普尔，他承认：“希特勒带走一切，但我们的德国口音，''弗劳Marmorek，呈现静音集中营生活。 （她的失语中的字符，像“画鸟”，“旧约”和“当铺”，可以被看作是一个极端的版本无根的生命已经目睹了太多太多的挫折 - 并知道他们的故事，恐怖也不会相信。）''在维也纳''（1986）欢迎侧重于两个连根拔起“美国人”弗雷迪和阿德勒（尼古拉斯·Brieger），一个犹太知识分子从柏林返回奥地利为胜利者。中弗雷迪爱上克劳迪娅（克劳迪娅·梅斯纳尔），维也纳的女演员，其父亲是由美国中央情报局的欢迎 - 尽管他的纳粹效忠。当弗雷迪和阿德勒成为占领者在战争结束后，他们必须处理与Treschensky（卡尔海因茨Hackl的奥地利），一个聪明的机会主义者。

“这样一个主题的危险，尔蒂先生说，人们都说，'我们已经受够了关于这个问题的。”他们弥补他们心中的电影前看到它。我不感兴趣“的头版新闻，但在讲一个故事，是电影。所以经常用这个主题，这个想法是优于执行。但乔治，其是基于故事的三部曲，不堆情景剧，而是他补充说，自我讽刺。我们不作英雄“欢迎在维也纳的人物。” “

一种方式避免了过度情景剧导演是舒伯特的弦乐五重奏后期整个三部电影，有节制地使用限制的音乐。他没有做的另一个让步是面对面的人的色彩：“我拍摄的黑色和白色，因为，你是怎么想的时代，发生在战争期间的电影，在色彩，通常不工作，他保持。

科蒂先生（非犹太人现在住在奥地利于1933年出生在巴黎）和控制器（先生出生在维也纳，1921年居住在巴黎的一个犹太人）已经合作了两部电影的电视。导演形容他们探索“希特勒的思想来源和根弗洛伊德的著作，特别是他的童年。

“我们意识到，我们做了两个男人谁最影响20世纪的电影，他们都是奥地利，继续薄膜制造商在融合法语和英语。 “没有其他的欧洲人在这个时代有这样一个对世界的影响。

“返回”脱胎于不同的三部曲，德国，奥地利和瑞士电视台提出：每个国家的贡献一部关于移民在20世纪。瑞士电影成为Markus Imhoof的，国际知名的戏剧，船全，而德国是“出于政治原因的移民，尔蒂先生回忆说。 “乔治，我想专门对付犹太人移民，结果是'上帝不相信我们了。”它是非常成功的，所以他们问了我们犹太移民在美国的经验，再拍电影''

“圣塔菲”紧随其后，但科蒂先生是没有内容，以结束在纽约的故事。 “我想返回的移民会更有趣，他解释说，''，因为他们经历了从欧洲只有7年，1938年至19??45年。他们到达制服，作为美国人，作为战胜国，作为解放者在自己心爱的国家。他们看到，他们是仅在维也纳举行的欢迎的程度，他们有美元，口香糖，巧克力等，所以我们决定让这两部电影，“欢迎在维也纳不会只有电视。

奥地利剧院确实发布了第三个故事是，首先在1986年之前在戛纳电影节。尔蒂先生承认这反犹太主义，方便健忘和机会主义的描述是“几乎一击。但一年后，戛纳电影节，它确实在维也纳的工作，因为他们听说在巴黎的成功。事实上，欢迎在维也纳“，在法国享有非凡的赞誉 - 批判性和商业 - ，其戏剧运行历时18个月。

导演说“欢迎在维也纳” - 从而赢得了在1986年芝加哥国际电影节大奖 - 奥地利电视“国定假日，瓦尔德海姆当选之前，它引起了巨大的讨论，尤其是年轻人。 “

对于科蒂先生是一家领先的电影，戏剧，电视和电台总监，三部曲的部分是面对反犹太主义，企图创造意识。 “反犹主义的态度一直是奥地利天主教徒之间有着悠久的传统，''他说。 “这是印基督教人民党的政治平台。

多才多艺的导演和演员 - 谁也是一个完全训练有素的农民 - 在意大利，瑞士，英国，德国和奥地利长大，不认为自己深受奥地利电影工作者。当被问及他是否感觉维也纳艺术家像埃里希冯施特罗海姆，弗里茨·朗，比利·怀尔德和奥托普雷明格亲属，他回答说：“对于我这一代人，所有这些都是美国电影制造商。

，他融合了讽刺和压痛回忆让·雷诺阿的工作的建议，尔蒂先生回答：“当然可以，尤其是在”欢迎维也纳。我希望观众能够发展他自己的观点。 “道德”在我的电影观众之间的对话和图像应制定。

他的戏剧作品有着深厚的连线之三部曲。最近，他执导“比赛，发挥费迪南德布鲁克纳中写道：法国（来自德国）而被放逐。尔蒂先生说：“首演大获成功，1933年在苏黎世。 “它讲述的诱惑纳粹主义的学生，包括''他目前指挥''埃利亚斯·卡内蒂的”婚姻法“，这是他的一个犹太家庭，1933年，不认为纳粹将是一个问题，为他们形容为“世界末日和困难。这将打开8月13日在萨尔茨堡，别致的观众可能会被竖起。

他还安装传统剧目，如“唐璜”，并计划直接“香格里拉FORZA德尔DESTINO。

他最大的挑战似乎是“酒店上海，由赵薇鲍姆（”大酒店“的作者。）合作生产 - 改编自小说”不仅是电影和电视，但许多国家也''先生尔蒂说 - 将在上海拍摄。

虽然中国可能似乎远离世界''和返回，尔蒂先生看到它作为另一种境界，在其中探索人格塑造。 “我之所以喜欢在电影，他得出结论，”是，它可以帮助我更了解人类 - 的皮肤下，后面的眼睛看。

In ''Santa Fe,'' an Austrian Jew who has found refuge in New York during World War II says wearily about his former countrymen, ''They'll never forgive us for what they did to us.''

This phrase is at the heart of both the film and the prize-winning cinematic trilogy titled ''Where To and Back,'' of which ''Santa Fe'' -currently at the Film Forum - forms the second part. Along with the first part, ''God Does Not Believe in Us Anymore'' (its co-feature on a double bill at the Film Forum), and ''Welcome in Vienna'' - shown last month - ''Santa Fe'' encompasses not only Austrian anti-Semitism but the healthy dose of irony that enabled a few lucky Jews to transcend the ache of alienation and nostalgia.

For Axel Corti, the Austrian director of the trilogy, which is based on an autobiographical screenplay by Georg Stefan Troller, this line is true. ''And not only in politics: even between people in love, sometimes one will not forgive in the other what he or she hasn't succeeded in doing,'' said the film maker during an interview in Paris last month. It is precisely this kind of psychological complexity that drew him to the story of individuals compelled to reshape their identities against the backdrop of World War II.

''God Does Not Believe in Us Anymore'' (1981) begins in Vienna in 1938, and takes Ferdinand (Johannes Silberschneider) - a Jewish youth, suddenly orphaned - through Czechoslovakia, Paris and Marseille in the early years of the war. His coming-of-age story is intertwined with the tale of ''Ghandi'' (Armin Mueller-Stahl). This character, a former German officer who joined the Resistance, was imprisoned in Dachau and escaped to Austria, extends the theme of Nazi victimization from Jews to resisters.

In ''Santa Fe'' (1985) - winner of both the International Press and Tokyo Prizes at the 1985 Monte Carlo Television Festival - the refugees who arrive in New York harbor believe they are finally safe and free. But for exiles who speak ''Emigranto,'' as one of the more successful new Americans puts it, adjustment is a difficult process.

The film's focus is Freddy (Gabriel Barylli), a young Austrian who dreams of making a new life in the mythic American West. But the other characters are equally vivid, from the assimilated photographer Popper, who acknowledges, ''Hitler took away everything but our German accent,'' to Frau Marmorek, rendered mute by concentration camp life. (Her muteness, like that of characters in ''The Painted Bird,'' ''The Testament'' and ''The Pawnbroker,'' can be seen as an extreme version of the frustration of rootless beings who have witnessed too much - and know that their tales of horror won't be believed.) ''Welcome in Vienna'' (1986) focuses on two uprooted ''Americans'' -Freddy and Adler (Nicolas Brieger), a Jewish intellectual from Berlin -who return to Austria as victors. Freddy falls in love with Claudia (Claudia Messner), a Viennese actress whose father is welcomed by the C.I.A. - despite his Nazi allegiances. And when Freddy and Adler become occupiers at the war's end, they must deal with Treschensky (Karlheinz Hackl), a clever Austrian opportunist.

''The danger with such a theme,'' said Mr. Corti, ''is that people say, 'We've had enough on this subject.' They make up their minds about the film before seeing it. I wasn't interested in 'front-page news' but in telling a story that is cinematic. And so often with this theme, the idea is better than the execution. But Georg, whose story the trilogy is based on, doesn't heap on the melodrama; rather, he adds self-irony. We don't make heroes out of the characters in 'Welcome in Vienna.' ''

One way the director avoided excessive melodrama was to limit the music to Schubert's late string quintet, used sparingly throughout all three films. Another concession he did not make was vis-a-vis color: ''I shot in black and white because that's how you think of the era; films which take place during the war, in color, often don't work,'' he maintained.

Mr. Corti (a non-Jew born in Paris in 1933 who now lives in Austria) and Mr. Troller (a Jew born in Vienna in 1921 who resides in Paris) had already collaborated on two films for television. The director described them as explorations of ''the sources of Hitler's ideas and the roots of Freud's work, especially his childhood.

''We realized we had made films on the two men who most influenced the 20th century, and they were both Austrian,'' continued the film maker in a blend of French and English. ''No other Europeans had such an influence on the world during this era.''

''Where To and Back'' grew out of a different trilogy that the television stations of Germany, Austria and Switzerland proposed: each country was to contribute a film about emigration in the 20th century. The Swiss movie became Markus Imhoof's internationally-acclaimed drama, ''The Boat Is Full,'' while the German one was ''about emigration for political reasons,'' Mr. Corti recalled. ''Georg and I wanted to deal with specifically Jewish emigration, and the result was 'God Does Not Believe in Us Anymore.' It was very successful, so they asked us to make another film about the experiences of Jewish immigrants in the U.S.''

''Santa Fe'' followed, but Mr. Corti was not content to end the tale in New York. ''I thought that the return of the immigrants would be even more interesting,'' he explained, ''as they were gone from Europe only seven years, 1938-45. They arrive in uniforms, as Americans, as victors, as liberators in their own beloved country. And they see that they are welcome in Vienna only to the extent that they have dollars, chewing gum, chocolate, etc. So we decided to make both films, and that 'Welcome in Vienna' would not be only for TV.''

The third tale was indeed released in Austrian theaters, first in 1986 just before it was presented at the Cannes Film Festival. Mr. Corti acknowledged that this depiction of anti-Semitism, convenient forgetfulness and opportunism was ''hardly a hit. But a year after Cannes, it did work in Vienna because they heard of the success in Paris.'' Indeed, ''Welcome in Vienna'' enjoyed extraordinary acclaim in France - both critically and commercially - where its theatrical run lasted 18 months.

The director said ''Welcome in Vienna'' - which won the grand prize at the 1986 Chicago Film Festival - was shown on Austrian television ''on the national holiday, before Waldheim was elected; it elicited tremendous discussion, especially among young people.''

For Mr. Corti, a leading director of cinema, theater, television and radio, the trilogy is partly an attempt to create awareness by confronting anti-Semitism. ''An anti-Semitic attitude has been a long tradition among Austrian Catholics,'' he observed. ''It was imprinted on the political platforms of the Christian People's Parties.''

Having grown up in Italy, Switzerland, England, Germany and Austria, the versatile director and actor - who is also a fully-trained farmer - does not consider himself deeply influenced by Austrian film makers. Asked if he feels a kinship with Viennese artists like Erich von Stroheim, Fritz Lang, Billy Wilder and Otto Preminger, he replied, ''For my generation, all of these are American film makers.''

To the suggestion that his blend of irony and tenderness recalls the work of Jean Renoir, Mr. Corti responded, ''Absolutely, especially in 'Welcome in Vienna.' I want the viewer to develop his own point of view. The 'moral' in my films should be developed in a dialogue between the viewer and the image.''

His theater work has deep connnections to the trilogy. He recently directed ''The Races,'' the play Ferdinand Bruckner wrote in France (while exiled from Germany). ''It premiered in Zurich in 1933 with great success,'' said Mr. Corti. ''It recounts the seduction of students by Nazism and includes a Jewish family who, in 1933, doesn't think Nazis will be a problem for them.'' He is currently directing ''The Marriage'' by Elias Canetti, which he described as ''apocalyptic and difficult. It will open Aug. 13 in Salzburg, where the chic audiences will probably be ruffled.''

He has also mounted traditional operas, like ''Don Giovanni,'' and plans to direct ''La Forza del Destino.''

His greatest challenge seems to be ''Hotel Shanghai,'' adapted from the novel by Vicki Baum (author of ''Grand Hotel.'') This co-production - ''not only of film and television, but also of many countries,'' Mr. Corti said - will be shot in Shanghai.

Although China may seem far from the world of ''Where To and Back,'' Mr. Corti sees it as another realm in which to explore the shaping of personality. ''The reason I love working in film,'' he concluded, '' is that it helps me understand more about human beings - to look under the skin, behind the eyes.''