Filmkritiker Roger Ebert – die Kritiken

Roger Ebert, der bekannteste Filmkritiker der USA, ist tot. Ebert erlag im Alter von 70 Jahren in Chicago seiner Krebserkrankung. Wir zeigen seine bekanntesten Kritiken.

von Sassan Niasseri 09.01.2013

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Fotos: Filmkritiker Roger Ebert – die Kritiken

Roger Ebert 2010

2001: A Space Odyssey (Stanley Kubrick, 1968). „Only a few films are transcendent, and work upon our minds and imaginations like music or prayer or a vast belittling landscape. Most movies are about characters with a goal in mind, who obtain it after difficulties either comic or dramatic. “2001: A Space Odyssey“ is not about a goal but about a quest, a need. It does not hook its effects on specific plot points, nor does it ask us to identify with Dave Bowman or any other character. It says to us: We became men when we learned to think“ (Chicago Sun-Times)

Aguirre – Der Zorn Gottes (Werner Herzog, 1972): „Aguirre, Wrath of God” is an obsessive film, about obsession. Because it is more or less based on fact, it’s all the more disturbing: Here is what greed and madness can bring human beings to. Herzog’s other films sometimes speak unclearly; this one speaks in blunt, unforgiving despair. (Chicago Sun-Times)

Apocalypse Now (Francis Ford Coppola, 1979): „Remember the weird beauty of the massed helicopters lifting over the trees in the long shot, and the insane power of Wagner’s music, played loudly during the attack, and you feel what Coppola was getting at: Those moments as common in life as art, when the whole huge grand mystery of the world, so terrible, so beautiful, seems to hang in the balance.“ (Chicago Sun-Times)

The Brown Bunny (Vincent Gallo, 2003). „In May of 2003 I walked out of the press screening of Vincent Gallo’s „The Brown Bunny“ at the Cannes Film Festival and was asked by a camera crew what I thought of the film. I said I thought it was the worst film in the history of the festival.“ (Chicago Sun-Times)

The Godfather (Francis Ford Coppola, 1972). „There is something in the measured passage of time as Don Corleone hands over his reins of power that would have made a shorter, faster moving film unseemly. Even at this length, there are characters in relationships you can’t quite understand unless you’ve read the novel. Or perhaps you can, just by the way the characters look at each other. “ (Chicago Sun-Times)

Pulp Fiction (Quentin Tarantino, 1994). „Quentin Tarantino is the Jerry Lee Lewis of cinema, a pounding performer who doesn’t care if he tears up the piano, as long as everybody is rocking.“ (Chicago Sun-Times)

Raging Bull (Martin Scorsese, 1980). „A movie about brute force, anger, and grief. It is also, like several of Scorsese’s other movies, about a man’s inability to understand a woman except in terms of the only two roles he knows how to assign her: virgin or whore. (Chicago Sun-Times)

Schindler’s List (Steven Spielberg, 1993). „Spielberg is not visible in this film. But his restraint and passion are present in every shot.“ (Chicago Sun-Times)

Lost Highway (David Lynch, 1996). „Like kissing a mirror: You like what you see, but it’s not much fun, and kind of cold. It’s a shaggy ghost story, an exercise in style, a film made with a certain breezy contempt for audiences. I’ve seen it twice, hoping to make sense of it. There is no sense to be made of it.“ (Chicago Sun-Times)

The Tree of Life (Terence Malick, 2011). „A film of vast ambition and deep humility, attempting no less than to encompass all of existence and view it through the prism of a few infinitesimal lives. The only other film I’ve seen with this boldness of vision is Kubrick’s „2001: A Space Odyssey,“ and it lacked Malick’s fierce evocation of human feeling.“ (Chicago-Sun-Times)

Tinker Tailor Soldier Spy (Tomas Alfredson, 2011). „I enjoyed the film’s look and feel, the perfectly modulated performances, and the whole tawdry world of spy and counterspy, which must be among the world’s most dispiriting occupations. But I became increasingly aware that I didn’t always follow all the allusions and connections. On that level, „Tinker Tailor“ didn’t work for me.“ (Chicago Sun-Times)

Vertigo (Alfred Hitchcock, 1958). „Judy, in ‚Vertigo‘ is the closest he came to sympathizing with the female victims of his plots. And Novak, criticized at the time for playing the character too stiffly, has made the correct acting choices: Ask yourself how you would move and speak if you were in unbearable pain, and then look again at Judy. (Chicago Sun-Times)

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