The work of V. Schlöndorff and M. von Trotta deserves high praises, especially because of their ability to overcome the certain difficulties confronted whilst adapting a work of literature into a cinematic piece, or: from one branch of art (in)to another. To give a small example, Heinrich Böll's book adopts a first-person-plural-view/narration whereas the film refrains from this approach; the essence of a documentary such an approach provides, however, can be grasped instantaneously in the film, too.
Being successful on most aspects, The Lost Honour of Katharina Blum suffers from its shortness. 106 mins. have been cleverly used by the directors, mostly by delivering the spectators what ought to be delivered essentially, but they fail in providing the links and some necessary depths to the characters and/or relations. An additional 15 minutes could have helped the directors to grave both their and the film's name deeper and in larger fonts.
I, for one, found the most fascinating part of the film to be shot in 1975: a year in which Ulrike M. Meinhof, Andreas Baader, Gudrun Ensslin, and Jan-Carl Raspe still lives; Holger Meins recently died of hunger(!); the West Germany is yet to experience what they term as The German Autumn by the 2nd generation RAF; the 1st gen. RAF members (leading members above) have not been tried yet by the time the book was published (maybe even by the time the film screened); the West Germany Police getting increasingly armed and offensive, and so on. Among all these, we witness the "system" founding and feeding itself -- as a matter of fact, nothing but its own self. The police, the officials, still prevalent pro-Nazism, and still-in-power former Nazis, the media, the social status, abuse, and oppression of the women... With the system ruling, firmly administering, and when necessary, fabricating all these tools, factors, manipulating the people, the viewer gains an insight into the closed loop that the person is trapped in. Seemingly, there is not a(n easy) way out; the ones leading to a hazy light turn out to be dead-ends. And here, the viewer begins to understand what the title really means, and how subtly it is the (condensed) narrative (of) itself.
These elements, pertaining to a "tightly-screwed" state system, all exist in the film but require a keen eye to catch them, let alone pondering on, given the length of the film. Despite its shortness, I believe that the adequate use of dialogues (even though sometimes they sound like irrelevant) and inconstant voices of characters, minute attention to decorations every here and there, Angela Winkler close-ups and her mimics, ... will convince the spectators that the directors pulled a good job, having come up with a worthy work.
Being successful on most aspects, The Lost Honour of Katharina Blum suffers from its shortness. 106 mins. have been cleverly used by the directors, mostly by delivering the spectators what ought to be delivered essentially, but they fail in providing the links and some necessary depths to the characters and/or relations. An additional 15 minutes could have helped the directors to grave both their and the film's name deeper and in larger fonts.
I, for one, found the most fascinating part of the film to be shot in 1975: a year in which Ulrike M. Meinhof, Andreas Baader, Gudrun Ensslin, and Jan-Carl Raspe still lives; Holger Meins recently died of hunger(!); the West Germany is yet to experience what they term as The German Autumn by the 2nd generation RAF; the 1st gen. RAF members (leading members above) have not been tried yet by the time the book was published (maybe even by the time the film screened); the West Germany Police getting increasingly armed and offensive, and so on. Among all these, we witness the "system" founding and feeding itself -- as a matter of fact, nothing but its own self. The police, the officials, still prevalent pro-Nazism, and still-in-power former Nazis, the media, the social status, abuse, and oppression of the women... With the system ruling, firmly administering, and when necessary, fabricating all these tools, factors, manipulating the people, the viewer gains an insight into the closed loop that the person is trapped in. Seemingly, there is not a(n easy) way out; the ones leading to a hazy light turn out to be dead-ends. And here, the viewer begins to understand what the title really means, and how subtly it is the (condensed) narrative (of) itself.
These elements, pertaining to a "tightly-screwed" state system, all exist in the film but require a keen eye to catch them, let alone pondering on, given the length of the film. Despite its shortness, I believe that the adequate use of dialogues (even though sometimes they sound like irrelevant) and inconstant voices of characters, minute attention to decorations every here and there, Angela Winkler close-ups and her mimics, ... will convince the spectators that the directors pulled a good job, having come up with a worthy work.