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The Dam (1964)

7.01h 17mDrama
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Synopsis

In The Dam, although it is an experimental film, Kristl eschews the necessary earnestness in addressing his subject. The manufactured, unambiguously humorless profundity proffered up by other German contemporaries is absent here. Laughter is allowed. Kristl takes the dreadful liberty of tomfoolery, sending up himself, the characters, the action, "tragedy," and everything else, including the audience, that might be held sacred. Within the framework of the action, we recognize a love triangle, one of the simplest of dramatic configurations. Not only the basic idea, but also numerous particulars, both in subject and style, are reminiscent of the films of Roman Polanski, which Kristl doubtless saw and holds in esteem. We meet two men: one is meant to embody the outsider, the artistic, intellectual, individualist. The other looks like the embodiment of the well-to-do man, the burgher, the functionary, the capitalist. The two battle for the favor of an indecisive and domineering girl.

Movie Information

Director
Vlado Kristl
Writers
Michaela Berchtold, Vlado Kristl
Release Year
1964
Runtime
77 minutes
Genre
Drama
Language
DE
Country
Germany
Status
Released
Rating
7.0 / 10 (1 votes)

Top Cast

👤
Petra Nettelbeck
Das gelähmte Mädchen
Vlado Kristl — cast portrait as Der 'Clown'
Vlado Kristl
Der 'Clown'
👤
Felix Potisk
Der 'Spießer'
👤
Erich Glöckler
👤
Uwe Nettelbeck
Telefonstimme (voice)

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What is The Dam about?

In The Dam, although it is an experimental film, Kristl eschews the necessary earnestness in addressing his subject. The manufactured, unambiguously humorless profundity proffered up by other German contemporaries is absent here. Laughter is allowed. Kristl takes the dreadful liberty of tomfoolery, sending up himself, the characters, the action, "tragedy," and everything else, including the audience, that might be held sacred. Within the framework of the action, we recognize a love triangle, one of the simplest of dramatic configurations. Not only the basic idea, but also numerous particulars, both in subject and style, are reminiscent of the films of Roman Polanski, which Kristl doubtless saw and holds in esteem. We meet two men: one is meant to embody the outsider, the artistic, intellectual, individualist. The other looks like the embodiment of the well-to-do man, the burgher, the functionary, the capitalist. The two battle for the favor of an indecisive and domineering girl.

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