A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Saturday, August 15, 2026

Revanche (Götz Spielmann, 2008)

Ursula Strauss and Johannes Krisch in Revanche

Cast: Johannes Krisch, Irina Potapenko, Andreas Lust, Ursula Strauss, Johannes Thanheiser, Hanno Pöschl. Screenplay: Götz Spielmann. Cinematography: Martin Gschlacht. Production design: Maria Gruber. Film editing: Karina Ressler. 

Götz Spielmann's Revanche is a moral tale about getting even. On the face of it, Alex (Johannes Krisch) is an unredeemable man: An ex-con who works in a brothel, he tries to help one of the prostitutes, Tamara (Irina Potapenko), escape from it by robbing a bank. When she is shot and killed by a cop as they are trying to flee, he hides out with his grandfather (Johannes Thanheiser), an elderly widower who lives alone on his farm. When it turns out that Robert (Andreas Lust), the cop who killed Tamara, lives nearby, Alex plots to avenge her death. Several means of revenge immediately present themselves: He could kill Robert on his daily run, or he could take advantage of his grandfather's friendship with Robert's wife, Susanne (Ursula Strauss), who visits the old man and takes him to church on Sundays. Susanne is lonely and frustrated: She wants to have a child but has miscarried. She's easy prey for Alex, since Robert is frequently away from home on police duty in the city. Spielmann handles the development of these characters deftly, and keeps the viewer guessing on how they may interact. He also finely crafts the contrasting worlds of the film: the seamy side of the city of Vienna and the pastoral Austrian countryside. Revanche is not easily pigeonholed as a thriller, although it certainly has the lineaments of the genre, since it doesn't have the payoff you might expect from the situation it establishes. Instead, it ends in a kind of stalemate that points up the difficulty of getting even in an unbalanced world.