Classic Movie Review: Jerichow (2008)

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Jerichow (2008) 

Directed by: Christian Petzold.

Written by: Christian Petzold.

Starring: Benno Fürmann (Thomas), Nina Hoss (Laura), Hilmi Sözer (Ali Özkan). 

 

Christian Petzold’s Jerichow isn’t an official adaptation of James M. Cain’s The Postman Always Rings Twice – but it’s clear that it is one anyway. Petzold is smart enough to realize that if he was going to, once again, redo a story that has been told many times already, he had to come with a new angle. For the most part, he succeeds. While this is a shorter film than either of the official adaptations of the novel, he actually spends more time getting to the point where the novel turns – and then Petzold (as he does often) just ends the film there – leaving the audience to pick up the pieces, and figure out what comes next. What’s even more impressive is even if you know the story he’s telling, Petzold still surprises you.

 

The film takes place in the small German town of the title. Thomas (Benno Fürmann) has just returned from Afghanistan – having received a dishonorable discharge, for reasons not explained – and has just buried his mother. He’s broke, he

has no job, and some tough guys have beaten him up to get the money he owes them – money he was going to use to rebuild his life. By chance, he meets Ali (Hilmi Sözer) along the road, when Ali, drunk, drives his car into a ditch. Thomas helps him out of the jam with the cops – and Ali ends up offering him a job as his driver. He doesn’t own a roadside diner this time around – but a string of snack bars all over the place, and he spends most of his driving around, checking up on them, making deliveries, etc. Ali’s beautiful, younger wife Laura (Petzold favorite Nina Hoss) does the books. It’s clear to the audience when Thomas and Laura lock eyes what is going to happen.

 

The key difference in Jerichow, compared to the other films, is in the depiction of Ali. The husband in these adaptations is most often painted as dim and pathetic – a man who doesn’t realize what is happening, until it is too late. That isn’t Ali. He is a Turk, who has come to Germany and made something of himself. He believes everyone is always cheating him – and while that isn’t an attractive feature in most people, in this case, he isn’t wrong. Ali is the most complicated character in the film – he can be both a brute – physically and verbally abusive, but also sympathetic. He is keenly aware that he is a foreigner in a country who doesn’t like him, who has a beautiful wife, but only because he paid off her debts, and that she has never, and will never, love him.

 

Hoss is, as always, great as Laura. This is more akin to the Lana Turner performance in the 1946 version – a woman who has been beaten down by life, who is exhausted and miserable, but sees no way out. Hoss is, of course, a beautiful woman – but mainly what she plays here is just tired. She keeps her feelings for Thomas more enigmatic that other versions – perhaps she is just using him to get what she wants. Fürmann is the weakest link in the cast – he is tall and good looking – but kind of a blank slate. This works for those earlier scenes, but when the ending comes, you want a little bit more than what Fürmann can, or at least will, give you.

 

Petzold has always specialized in endings – for knocking you out in the final scene, and then getting out quickly. His best film, Phoenix, has one of the best final scenes of the last decade. And here, it’s the best scene in the film as well. For the first 85 minutes of Jerichow, it is a very good film – tweaking the original story, twisting it into something slightly different, more modern, more German, etc. And then there comes the final scene – and it elevates the whole movie, puts everything we’ve seen into a different light. Petzold knows how to end the film – and Jerichow is a great example.

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