SDFF ’14: A Love Story, Lindenfeld

There are not a lot of Deutsch speaking ethnic Germans left in Romania. The Communists saw to that. Ulli Winkler was fortunate to escape when he could. Decades later, he will return to the ghost town here he once lived, searching for the love of his life in Radu Gabrea’s A Love Story, Lindenfeld (trailer here), which screens during the 2014 San Diego Film Festival.

Germany was good to Winkler, or “the Chairman” as most of his employees know him. He even adopted a son, but he never married. The memory of his intended Helga Kerber simply remained too strong. When the Soviets came to ethnically cleanse Romania’s Banat region, they swept up Kerber in their net, but they missed Winkler through a twist of fate. However, a 2005 television report on the presumably abandoned town of Lindenfeld spurs a flood of memories. Through serendipity, Winkler soon receives reports his beloved Kerber is still alive. With his health and faculties slowly but steadily declining, Winkler instructs his loyal servant-protector Boris take him back to Lindenfeld (a relatively manageable drive in today’s borderless Europe).

Lindenfeld is an unabashedly and achingly old fashioned film, it the best way possible. There is no unfinished business like first love—and Gabrea takes care of business quite well. The constant strains of Pachelbel’s Canon are admittedly a bit of a cliché, but the recordings featured on the soundtrack are unusually lush and pretty. Even if the audience resists, it does what it is supposed to do.

Victor Rebengiuc and Victoria Cociaş play the senior Winkler and Kerber with wonderfully wise maturity. There are no theatrics, thank you very much, but their ardor feels very real. Yet, the subtlest work might come from Alexandru Georgescu as the poker-faced but stout hearted Boris, with the sort of performance that stealthily sneaks up on viewers.

Based on a popular Romanian novel, Lindenfeld dramatizes one of the first tragic manifestations of the Soviet oppression in Eastern Europe and its lingering repercussions. It is a perfect story for Gabrea, who really ought to be more widely celebrated on the international festival circuit. However, his choice of subject matter, such as the National Socialist occupation, the Communist experience, and Yiddish culture (see films like Gruber’s Journey, Red Gloves, and Goldfaden’s Legacy) are apt to make European cultural arbiters rather uncomfortable. Throughout Lindenfeld he helms with a delicate touch and a forgiving allowance of human fallibility. Highly recommended, A Love Story, Lindenfeld screens this Saturday (9/27) as part of this year’s San Diego Film Festival.

Romanian Film Festival ’11: Red Gloves

It was hard being part of Romania’s Saxon minority, particularly in the immediate post-war years. Embolden by the Soviet suppression of the Hungarian Revolution, the Romanian Communists began targeting the German-speaking minority. Though as a group they were disproportionately anti-Communist (and for good reason), this was not the case for young leftwing student Felix Goldschmidt. His lengthy imprisonment, interrogation, and trial testimony are dramatized in Radu Gabrea’s Red Gloves (trailer here), which screens this Thursday during the 2011 Romanian Film Festival, presented by the Film Society of Lincoln Center and the Romanian Cultural Institute.

Goldschmidt tried to believe the excesses of Romania’s so-called “obsessive decade” were an aberration that would soon give way to true socialism. He also craved acceptance. That would be more than enough for his interrogators to work with. In truth, Goldschmidt’s politics were a little slippery. He had associated with several nonconformist elements, but his relationship with them was somewhat ambiguous. In particular, he claims to resent the now banned author Hugo Huegel for stealing his girlfriend, but viewers witness decidedly intimate scenes shared by the two men.

Frankly, Goldschmidt is fairly wishy-washy, which makes him more vulnerable to the tactics of his captors. He seems especially eager to please the German speaking Major Blau, yet for a time he resists denouncing his friends and colleagues. Still, a strong personality can only hold out for so long—and Goldschmidt is not such a man.

Based on fact, but adapted from the novel by Enginald Schlattner, a Saxon-Romanian Lutheran pastor, Gloves is a deeply and pervasively tragic film. Arguably, Gabrea has become something akin to Romania’s cinematic conscience having helmed a adaptation of a previous Schlattner Saxon-Romanian novel, as well as the Holocaust-themed drama Gruber’s Journey, and documentaries about Romania’s Yiddish cultural legacy.

With Gloves, Gabrea focuses squarely on the interrogation process, vividly portraying the breakdown of Goldschmidt’s soul. Though there are frequent subsidiary flashbacks within the main narrative flashback, it is all a bit stage-like, featuring a relatively cast of characters in a confined setting. Yet, it is an effective arena to explore the terrors of Romania’s communist past, particularly through the hard insights offered by a former judge and a priest who briefly share Goldschmidt’s cell.

Though it is essentially by design, Goldschmidt is still a rather hollow figure nonetheless, never really brought to life by Alexandru Mihaescu. In contrast, Udo Schenk is absolutely electric as Blau. He deserves to be an internationally star, but the SS and Communist officers he has played for Gabrea are difficult to embrace, despite the screen charisma he brings to them.

Bitterly ironic and brutally honest, Gabrea’s film is—to use a loaded term from Gloves—a “cathartic” work. It is also a high quality period production that might come as a welcome respite to patrons tiring of the Romanian New Wave aesthetic, even with its grim subject matter. Respectfully recommended, it screens Thursday night (12/1) during the 2011 Romanian Film Festival at the Walter Reade Theater.