the dark center of the human heart
by Douglas Messerli
Jutta Brückner,
Margarethe von Trotta, and Geneviève Dormann (screenplay, based on the novel by
Marguerite Yourcenar), Volker Schlöndorff (director) Der Fangschuß (Coup
de Grâce) / 1976
In the film’s first scene we see the return home, against the background of
warfare, of Reval with his dashing childhood soldier friend, Erich von Lhomond (Matthias
Habich). Sophie, her elderly grotesque Aunt Praskovia (Valeska Gert), and even
the retainers are delighted for their return. And Sophie, who has been a
long-time friend of Erich is even more delighted since she has long been in
love with him.
Despite his gallant treatment of her and her aunt, it quickly becomes apparent
to anyone who knows anything about human behavior that Erich and Konrad are
very much in love, Konrad insistently pounding his now battle-scarred piano as
he stares in Erich’s eyes.
Even the ghoulish old Aunt, who must be
carried down to the dinner table seems to be more aware of the situations going
on around her than the love-stricken Sophie, who attempts to entrap Erich in
numerous ways, offering him food, coffee, poetry, and, of course, intimate
situations to prove his love for her.
Unlike the novel by Marguerite Yourcenar, where the violence of the war (a
different war in fact) remained at a distance, Schlöndorff’s film shows us the
gritty ugliness and its true meaningless up close, reiterating the pointlessness
of both sides of this battle. Eric seems to have no difficulty in ordering up
the deaths of discovered or even suspected revolutionaries, and allowing their
bodies to rot.
As he continually evades Sophie’s attentions, she turns to other men on his
watch, at first the handsome Franz (Grigori Loew), and, when he is killed,
taking up with Volkmar (Mathieu Carrière). The overlaying images of a kind of cheap
series of love affairs with the constant dangers of a meaningless war might
almost remind one of George Bernard Shaw’s great play Heartbreak House which
was first performed in the very years that this film takes place. Like that
play, a great deal is made of turning off lights or, at least, covering the
windows so that the enemy can’t see the target, a command that time and again
Sophie refuses to obey. At one point, to prove the necessity of the action,
Eric takes her outside of the house, a lamp in his hand, which results in a
direct hit on the estate’s stables. His very absurd show of bravery, however,
only convinces her that he truly does love her—this despite the fact that she
has witnessed her brother and Erich playing in the snow like two school
children who can’t keep their hands off one another.
It is, finally, Volkmar that makes it clear to her that in their brief weekend
trip to Riga, the two men finally consummated their relationship. One can only
wonder what has taken them so long. And the director reiterates their “distant”
manly love by discretely pulling away from nearly every scene in which Erich
might demonstrate his love of Konrad, revealing quite clearly that Erich’s love
is far more conservative and chaste than any a typical heterosexual being might
experience.
Sophie’s choice—to hint at another film that quietly
rumbles through this one—is to join the revolutionary forces and, as
Hans-Bernhard Moeller and George Lellis argue in their essay on this film,
reassert this as another narrative alternative, an anti-patriarchal, feminist
perspective, that counteracts the Prussian patriarchal values. Sophie does this
even presupposing the results, her capture and eventual death from the hands of
the men she once passively nursed. And her demand that Erich von Lhomond,
himself, put the bullet through her head is a recognition that in his inability
to love her, he had already destroyed her life long before.
As Moeller and Lellis hint, Erich, the only survivor of this debacle, might
surely later be one of the gay Nazi Sturmabteilung brownshirts so brilliantly
portrayed in Visconti’s The Damned. But in Schlöndorff’s far
more evasive work, we have no clear indication of his future. Sophie simply
becomes another rotting, stinking corpse, left behind in a meaningless murder
by a man who has no clear understanding of why he murders. Perhaps Erich,
despite his brief love with the weak Konrad, has no heart. Or perhaps it is a
heart so wounded that he can no longer feel for human beings. Was Sophie’s
revenge just as meaningless? Surely, Erich has no regrets, but has himself
become a cog in the ever-moving engine into the darkest centers of the human
heart.
Los Angeles, September
17, 2017
Reprinted from World
Cinema Review (September 2017).
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