One thing I try to strive for is to watch as many movies
from as wide a variety of sources and styles as possible. In doing so I might
not like all of them but at least I’ve left myself open to seeing things
outside of my comfort zone and exposed myself to things I might miss that are
great and some that are the worst things imaginable. As movie loves I think we
all need to do this and then let others know what we think. The bad thing is
that those that disagree, those that think we’re stupid for not “getting” what
is great about a film or those that think we’re stupid for enjoying something
they think of as drek feel the need to be upset with your feelings on something
they love or hate. What they miss is the fact that the opportunity was there to
see something that might not be available in the first place and that by being
discussed is brought to the attention of many who might not know it even exists.
I’ve spoken often in my reviews of Arrow Video. I think they
are among the top five companies right now (perhaps even higher) when it comes
to releasing hard to find films, obscure films, classic films, art films and
movies in general that are more likely than not to be passed over by the major
studios. Not only do they do a fantastic job of this, they offer their titles
in the best possible formats, include outstanding extras whenever possible and
do so at a price that is reasonable (sorry Criterion, you charge far too much
for what you deliver). I may not always love the movies they release but I do
appreciate all of the efforts they go through to deliver to those that do.
With that in mind I just watched TENDERNESS OF THE WOLVES, a
1973 movie directed by UIli Lommell. Lommell was a protégé of Rainer Werner
Fassbinder and a part of the New German Cinema movement that ran during the
early 70s. His career has gone up and down and he’s delivered fairly mainstream
films like THE BOOGEYMAN as well as several films that could be called “art
films” before finally making his way to made for DVD movies that haven’t fared
that well. But there is always the possibility of his rising once more.
TENDERNESS focuses on the true story of Fritz Haarmann, a
German serial killer who did most of his nefarious deeds right after WWI. As
played by Kurt Raab, Haarmann comes off as one of the most chilling murderers
seen on screen. An uncloseted homosexual who preyed on young boys that he then
murdered, Haarmann then went on to cut up his victims and sell their bodies as
meat to friends who were in need of fresh meat. While that alone might make for
a terrifying killer there is more behind the man to make him even more
horrific.
Raab plays Haarmann as a slightly shy yet smooth talking con
man who convinces friends to ignore his odd behavior from time to time. Not
only does he get them to ignore it, he talks his way out of an arrest by
offering his services to the local police in helping them ferret out other
criminals. With a fake badge in pocket he uses his influence to not only pass
along information about his criminal competition, he also uses it to persuade
young runaway boys to his apartment where he beds and then kills them. Raab has
chosen a bald headed look that at times reminds us of Max Schreck as Nosferatu,
a good comparison as Haarmann was also known as the vampire of Hanover due to
his biting some of his victims on the neck.
The movie takes on an odd feel for a number of reasons
besides the pedophilic serial killer at the center of it all. The people
Haarmann associates with may belong to the lower criminal class but they are
also seen as struggling to survive after their country has been beaten in war.
There is a certain amount of sympathy to be felt for them and Lommell depicts
that in subtle ways. The movie also has a bombed out feel in it’s of settings
and style of being filmed. The filmed world of Haarmann is a grey one lacking
of color and life, much as that Germany would have been at the time. The few
glimpses of color involve either his associations in a local bar or during the
murder sequences.
The life and times of Haarmann are seen here in the latter
part of his life rather than attempting to cover his entire career. In the end
the number of murders he committed with his lover Hans Grans has been listed as
anywhere between 24 and 50 people. That many are not seen here. He isn’t
depicted as a raging lunatic but as I stated earlier, as a subtle and
manipulative sort that isn’t seen killing in the most brutal fashion of some
movie killers but still in perhaps some of the most twisted ways.
For a film coming out of the seventies it offers more full
frontal nudity than most as well as touching on homosexuality that was still
fairly taboo at the time. It doesn’t condone or condemn the topic but instead
uses it to develop its central character. If you find this offensive then the
movie will do just that. I mention it so that those who might be are aware.
In the end the movie is one I may have to watch a second
time to fully understand or appreciate. While the story itself is interesting
(enough so that another more famous movie, M, was based on this same tale), I
found the pacing of the film to be slow and in trying to keep up with the
translation of dialogue with what I was watching made me unable to fully
appreciate what was on the screen at times. As a single viewing experience it
was just so so for me. Perhaps my opinion will change the second time around.
What I did find was an experience of watching a film from another country that
didn’t fit the Hollywood mold. That doesn’t make it a good experience, just a
different one.
For the average viewer I’m not sure I would suggest watching
this. For foreign film fans you will love it. For fans of Lommell and Fassbinder
I have little doubt you will add it to your collection. For me, on the whole,
it was interesting but nothing stupendous.
As for how Arrow Video has treated this release they’ve
outdone themselves once more. Extras include:
-A new high definition digital transfer prepared by the
Rainer Werner Fassbinder Foundation
-New translated English subtitles
-THE TENDER WOLF – a new in depth interview with director
Lommell
-A new interview with director of photography Jurgen Jurges
-A newly filmed appreciation of the film by film historian
and expert on European horror cinema Stephen Thrower
-The theatrical trailer
-A reversible sleeve
-An illustrated booklet featuring new writings on the film
by Tony Rayns
