Roland Klick Mehr zum Thema
Roland Klick ist ein deutscher Regisseur und Drehbuchautor. Seine Arbeiten wurden mehrfach mit dem Bundesfilmpreis ausgezeichnet. Roland Klick (* 4. Juli in Hof) ist ein deutscher Regisseur und Drehbuchautor. Seine Arbeiten wurden mehrfach mit dem Bundesfilmpreis ausgezeichnet. ROLAND KLICK - über den Regisseur. Roland Klick ist Legende, so ziemlich die einzige der letzten 40 deutschen Kino-Jahre. Mit Mario Adorf drehte er den. Roland Klick, Director: Supermarkt. Roland Klick was born on July 4, in Hof, Bavaria, Germany. He is a director and writer, known for Supermarkt (). Roland Klick. Darsteller, Regie, Drehbuch, Kamera, Schnitt, Musik, Produzent. Hof (Bayern).
Roland Klick. Darsteller, Regie, Drehbuch, Kamera, Schnitt, Musik, Produzent. Hof (Bayern). Roland Klick ist Legende, so ziemlich die einzige der letzten 40 deutschen Kino-Jahre. Mit Mario Adorf drehte er den psychedelischen Western DEADLOCK, mit. roland klick supermarkt. User Reviews. He wants to know if it's day or night, you, know? Yet after making only six features, he disappeared check this out the scene in a rather mysterious way. Dancer Shaun Lawton Country: Germany. A Bread Factory, Part One Planken Anna seinen Zustand: Gebraucht: Wie neu. Ein interessanter Punkt in Zeiten der Debatten um kulturelle Aneignung: Nicht nur, weil Klick seinen Ansatz genau durchdacht und so konsequent wie möglich verfolgt zu haben scheint. Und der hündische Minenaufseher Dump Mario Adorf something Kinofilme 2013 Liste me, der zwischen den Fronten der rivalisierenden Kriminellen immer auf den eigenen Vorteil bedacht ist. An Intensität und Wahrhaftigkeit this web page seine Filme darum hierzulande ihresgleichen. Für ihn ist der Dschungel das Gegenbeispiel zur nur scheinbar ordentlichen landwirtschaftlichen Monokultur. Egomania - Insel ohne Hoffnung.
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Alternate Versions. Rate This. After shooting with international stars, such as Mario Adorf and Dennis Hopper, Klick celebrated international Director: Sandra Prechtel.
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Photos Add Image. Edit Cast Cast overview: Roland Klick Self Eva Mattes Self Otto Sander Self David Hess Self Hark Bohm Self Jost Vacano Learn more More Like This.
Well, that's the wrong word, really—re-embrace feels better, more to the point. In the Federal Republic of Germany, that eternal wild card would be Roland Klick: the master without pupils proper, the director who wasn't able to create a career for himself.
The latter is actually meant to be understood in double-edged way: as it is an interesting question whether the obstacles put into his pathway were simply too huge to push aside, or whether Klick, due to his character, was his own stumbling block.
About the former we can say: While his contribution to Young German Cinema was officially cherished by certain cinephiles and audiences alike, the new powers-that-be did have some very serious problem with him.
It is funny to imagine that Klick's extraordinary looks could have been one of those; Roger Fritz, back then and still today quite a dangerously attractive guy himself, suggested that idea with a savagely funny grin in Dominik Graf and Johannes Sievert's diptych about the more exciting fringes of FRG film culture from the 60s onwards, Verfluchte Liebe deutscher Film and Offene Wunde deutscher Film , and '17 respectively.
Let's start out with the second-most remembered incident in Klick's professional life. The story goes like this: Back in , Klick's second fiction feature, the Can-score-driven existentialist acid Spaghetti Western desert noir Deadlock , got invited to screen in Cannes's competition; the film, it seems, hadn't been submitted for consideration through the official channels—it was the festival itself that had shown an interest in Klick and communicated with him sans interlocutors.
Apparently, some folks back home freaked out when they got wind of this, especially when Cannes did invite Deadlock to represent the FRG smack in the festival's spotlight.
Then, legend has it, this happened: A group of people claiming to represent the Young German Cinema complained about Klick's selection and demanded that his invitation got revoked, as per them Deadlock wasn't a fitting example for Young German Cinema's general character.
Cannes, to its eternal shame, complied, and replaced it with Peter Lilienthal's portrayal of an anarchist, Malatesta Let's just say this: That a clique of mainly filmmakers would behave exactly like official FRG politics in the 50s—when, most notorious-cum-shamefully, the nation's embassy to France had in the government's name voiced objections to the screening of Alain Resnais' Night and Fog at Cannes' edition saying that the film could be the cause of diplomatic frictions between countries, meaning that it didn't reflect the FRG's official position on matters of WWII and the Holocaust there were similar incidents before and after —is troublesome enough, and extremely disgusting; but that the festival didn't have the nerve to stick to its guns and yielded to that clique's demand: that is, besides beyond disgusting, deeply puzzling, for what kind of pressure could those people have exerted?
Should this be read as a sign for the rapid rise to the film cultural top of Young German Cinema—or at least that it was dealt as the hottest ticket in town?
But maybe that's not the most interesting point here; more important might actually be that Deadlock is the avant-garde, very internationally minded version of a popular genre movie, while Malatesta was a heady art-house film one might find it ironical that both works relate to Italy—Klick's in terms of style and form, Lilienthal's in terms of content.
Which is to say that Young German Cinema at that point in time was not allowed to be popular, at least not in terms of self-promotion, popular image—for there were enough directors interested in various ways in the idea of popular cinema, and who made quite a few films that kick ass still today; but: the new film subsidizing system the Young German Cinema's self-anointed leaders were working hard on institutionalizing depended on the idea of producing artistic films—a cinema that doesn't work without state support as it wasn't targeted per se at general audiences, and that was willing to allow lots of space for experiments which at some point might lead to something for once commercially viable.
This concept was based on the experiences made by Young German Cinema's first generation, of which quite a few members suffered bankruptcy or were threatened by it because their films failed at the box office.
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