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The Damned

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The Damned (2024) - REVIEW - [ENGLISH-SPANISH]@maaasha287d
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  1. Film Review: The Damned (Götterdämmerung, 1969)@drax570d

    (source: tmdb.org)

    Some of the most notorious genres of exploitation cinema that emerged in the 1970s were significantly influenced by serious and critically acclaimed mainstream films crafted by celebrated filmmakers. Among these genres, Nazisploitation stands out as a particularly provocative example, with its roots tracing back to films like The Damned (1969), directed by the Italian auteur Luchino Visconti.

    The Damned, originally titled Götterdämmerung—which translates to "Twilight of the Gods"—serves as a symbolic reference to the decline of the European upper classes during the interwar period. This decline is intricately linked to the rise of fascism, a subject Visconti, who belonged to this aristocratic milieu himself, explores with both depth and nuance. It paints a vivid picture of how the elite, in their desperation to maintain power and privilege, become complicit in the very ideologies that threaten their existence.

    The film revolves around the Essenbeck family, a fictional dynasty of powerful German industrialists, loosely based on the historical Krupp family, known for their steel production and armament supplies during various conflicts. The plot begins in 1933, shortly after the Nazis seized power, when we are introduced to Baron Joachim von Essenbeck (played by Albrecht Schoenhals), an elderly aristocrat who harbours disdain for the Nazis yet understands that aligning with them is essential for preserving his family's wealth. The baron decides to replace Herbert Thalmann (played by Umberto Orsini), an openly anti-Nazi executive, with his nephew Konstantin von Essenbeck (Rheinhard Kolldehoff), a high-ranking member of the Nazi SA paramilitaries. Konstantin's position is precarious due to internal strife within the Nazi Party and family intrigues; this tension is exacerbated by Friedrich Bruckmann (played by Dirk Bogarde), an ambitious executive entangled in an affair with Sophie (played by Ingrid Thulin), Joachim's widowed daughter-in-law. The family, which also includes Sophie’s perverted son Martin (played by Helmut Berger), spirals into chaos as Friedrich murders Joachim and frames Herbert for his death, leading to Herbert's forced exile. The climax unfolds during the infamous Night of the Long Knives purge, where personal vendettas intertwine with political machinations.

    The Damned is notorious for being one of the first X-rated films to be broadcast on US television, a distinction attributed to the MPAA ratings system established shortly before its release. At that time, X-rating was not solely associated with pornography but encompassed films containing adult themes. While The Damned does not overtly depict graphic sexuality, it explores controversial subjects such as paedophilia, incest, and homosexuality, which stirred significant controversy upon its release. The film faced heavy censorship; its broadcast was truncated, with unedited versions only becoming widely accessible decades later through DVD releases.

    One of the most contentious aspects of The Damned lies in its exploration of fascism's connection to sexual perversion—a theme that would resonate throughout 1970s European cinema. This motif can be seen in other works like Bernardo Bertolucci’s 1900, which similarly examines Italy's tumultuous history through a sexual lens. Modern audiences may find The Damned politically incorrect or unacceptable due to its implications linking Nazism with homosexuality; scenes depicting SA members engaged in homosexual orgies prior to their brutal purge contribute to this perception.

    The performances throughout The Damned are commendable; Dirk Bogarde excels as Friedrich Bruckmann, embodying a Machiavellian schemer ultimately outplayed by his own ambitions. Helmut Griem stands out as Wolf von Aschenbach, an ambitious SS officer, showcasing a calculating intelligence that marks him as the film’s most formidable villain. Conversely, Ingrid Thulin's portrayal of Martin’s dysfunctional mother leans towards overacting at times, detracting from her character's impact. Charlotte Rampling’s role as Herbert’s wife is visually striking yet largely forgettable due to inadequate development within the script; her character, one of the few the audience can root for, exits too early from the narrative for audiences to form a strong connection.

    Visconti's direction is competent but marked by a cold stylistic approach that contributes to pacing issues; at two-and-a-half hours long, The Damned occasionally feels overextended. The attempt to weave personal dramas with broader historical contexts and crime subplots does not always succeed cohesively. Moreover, the film suffers from an almost complete absence of sympathetic characters; nearly all individuals engage in despicable behaviour. However, this lack may be justified given that it addresses one of history’s darkest chapters.

    Despite its flaws—such as pacing issues and morally ambiguous characters—The Damned remains an intriguing and influential work worthy of analysis as an unconventional interpretation of history. Its significance was recognised early on within cinematic discourse; notably, Berger and Thulin would reunite seven years later in Salon Kitty, which has since become one of the most recognised examples of Nazisploitation cinema.

    RATING: 6/10 (++)

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  2. Film Review: The Damned (Les Maudits, 1947)@drax722d

    (source: tmdb.org)

    The realm of submarine films, particularly those set during the Second World War, requires immense technical expertise and substantial resources, delivered either through a high budget or cooperation with powerful navies. Consequently, it was Hollywood that predominantly dominated this genre. However, a few European filmmakers managed to break into this territory, most notably Wolfgang Petersen with Das Boot, widely considered the finest submarine film ever made.

    An earlier example is provided by the French director René Clément with his 1947 film The Damned. The plot unfolds in the closing days of the Second World War. Dr. Guilbert (played by Henri Vidal), a physician, returns to his home in Royan, a French Atlantic port city recently liberated by the Allies from German occupation. Unaware of impending events, Guilbert resumes his practice. In Oslo, meanwhile, a German submarine is tasked with transporting a group of high-ranking Nazi officials and European fascist collaborators to South America.

    As the submarine navigates treacherous waters, it encounters Allied destroyers, and a collision with depth charges damages the vessel. While the damage appears negligible, Hilde Garosi (played by Florence Marly), the mistress of General von Hauser (played by Kurt Kronefeld), is injured and requires immediate medical attention. With Royan now under Allied control, the submarine captain (played by Jean Didier) dispatches a team to abduct Dr. Guilbert and bring him on board. Soon, Guilbert realises that his only hope for survival lies in either escaping the submarine or winning over the increasingly paranoid crew, who are questioning their orders as news of the war's impending end reaches them.

    The Damned, like Clément’s directorial debut Battle of the Rails, deals with the war, but it is actually more of a psychological thriller than a war film in the strictest sense. Clément, as in his debut, employs a semi-documentarian style, but he also puts greater financial and technical resources, like the captured German U-boat, to good use, resulting in a more polished look.

    Most impressive is the use of the famed Victorine Studios in Nice, where production designer Paul Bertrand built the interior of the submarine. This set is put to excellent use, creating a claustrophobic and paranoid atmosphere that, together with Clément’s superb direction and use of long dolly shots, fuels the plot and the characters’ actions.

    One of the most striking aspects of The Damned is its exploration of the moral dilemmas faced by individuals in the face of overwhelming circumstances. Guilbert, a man of conscience, finds himself trapped in a predicament where he must either collude with the Nazis or risk being killed. The film also delves into the dynamics of power and loyalty, as the crew members grapple with their own sense of morality and their duty to follow a cause they sense is being lost.

    An interesting aspect of the film is its portrayal of the Nazis and their ilk seeking shelter in South America, a theme prevalent in Hollywood and Western cinemas immediately following the war, reflecting public concern that the Nazi evil was not completely defeated and that it might rise again in the future.

    The Damned boasts a formidable cast, although Henri Vidal, despite playing the protagonist, is overshadowed by the supporting players. They include the Italian actor Fosco Giachetti as the fascist Italian aristocrat Garosi (Hilde’s cuckolded husband), the Czech actress Florence Marly as the icy blonde who serves as the film’s version of a femme fatale, Paul Bernard as the French collaborationist propagandist Couturier suddenly realising that the new fascist order he had supported is irrevocably collapsing, Marcel Dalio as an opportunistic South American businessman trying to rid himself of his Nazi partners, and Jo Dest as the fanatical SS General Forster. It is, however, Michel Auclair as Forster’s young enforcer Wily Morus who steals the show, portraying a complex relationship with his superior as something more than strictly professional.

    The Damned had its premiere at the Cannes Film Festival, where it received the Grand Prix for Adventure or Crime Films. While this was a solid achievement for French cinema at the time, the film might disappoint modern viewers unaccustomed to the technical limitations of the era. Problems include the protagonist's narration, which serves as weak commentary on what the audience has already noticed. Additionally, the over-melodramatic, action-packed ending, which uses war documentary stock footage in a way inconsistent with the rest of the film, makes it look somewhat cheap or too rough around the edges.

    Another issue for modern audiences is that the film was made immediately after the war, aimed at viewers (especially the French) who did not need reminding of relatively obscure details, such as the Germans maintaining isolated fortified garrisons on the Atlantic Coast right up until the capitulation. Despite these issues, The Damned remains a compelling and thought-provoking film that deserves a place in the canon of submarine genre films.

    RATING: 6/10 (++)

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