{Der Krieger und die Kaiserin}
 --- Subtitled --- "Endlessly imaginative and unpredictable… A dazzling fable of love, destiny and redemption." -Kevin Thomas, Los Angeles Times From the director (Tom Tykwer) and star (Franka Potente) of the internationally acclaimed, fast-paced smash hit Run Lola Run comes a startling fresh and compelling romantic drama that will leave you breathless. When shy, beautiful nurse Sissi is the victim of a horrible car accident, a handsome small-time criminal miraculously saves her life. When she recovers, Sissi sets out to find him and discovers a violent man with a conflicted past and dangerous future. Soon, the two meet again in the middle of a deadly bank robbery, and Sissi realizes her fate is pre-destined. Or is it? Cast Notes: Franka Potente (Sissi), Benno Fürmann (Bodo), Joachim Król (Walter), Lars Rudolph (Steini), Melchior Beslon (Otto), Ludger Pistor (Werner), Christa Fast (Sigrun Molke), Susanne Bredehöft (Zewi), Gottfried Breitfuss (Paul), Steffen Schult (Bruno), Rolf Dennemann (Dieter), Ali Nejat-Nouei (Ali), Sybille J. Schedwill (Maria), Peter Ender (Thomas), Friederike Frerichs (Corinna). User Comment: paul.zitzke (paul.zitzke@gmx.de) bonn, germany • (Spoiler) When I watched "Der Krieger und die Kaiserin" a few days ago I was just about to lose my faith in modern German cinema again, since I had seen some ridiculous films before it (and those had even received several pretty good reviews). For that reason, my expectations weren't high and I guess the only motive for me to give this one a chance was that its director is Tom Tykwer ("Lola rennt"). But the miracle happened: "Der Krieger und die Kaiserin" is by far the best, most touching, original, intelligent and involving film I know from the year 2000, not only on a national, but a worldwide scale (and I think it doesn't only have to do with the fact that it wasn't such a good year for film). Though I have to admit that I have a special liking for those stories of two "social misfits" who find each other and, by it, also find their personal meaning of life (I guess it was one of the main reasons for me to admire "American Beauty", I'm talking about the subplot of Ricky and Jane), I am sure that other people will enjoy it, too. The story circles around Sissi, a nurse in a mental hospital, who leaves her working place almost as seldom as the inmates. Later it comes out that one of the reasons for it may be a trauma caused by her mother's death. One day Sissi's life is rescued by Bodo who is similarly secluded and withdrawn to Sissi. She is told that it's because of an accident causing his wife's death, but that is only half the truth. However, Sissi thinks that their meeting can't just be accidental, so that she tries to find him. For the time being, the story culminates dramatically in a robbery of the bank in which Bodo's brother works that is planned and executed by Bodo and his brother. By chance, Sissi helps them to flee and they have to decide what to do furthermore. One of the most remarkable aspects of the film is its acting company. Not only the wonderful Franka Potente (in a role that is way more complex and subtle than "Lola") is absolutely convincing, but, for me very surprising and unexpected, also Benno Fürmann does a great job. His acting is very quiet, but he succeeds in touching us on an emotional level just with his eyes, body language and the little things he says. Joachim Król once again varies his best role of the big-hearted friend (resp. brother). The cinematic style is, compared with that of "Lola rennt", almost dreamy (or should I say traumatic?), and the whole film is characterized by a trance-like atmosphere (supported by a haunting score - composed by director Tykwer and two others - that, for some reason, reminded me of Hans Zimmer's "The Thin Red Line"-score; sounds odd, but watch those two films, and I'm pretty sure you will understand me). Director of photography Frank Griebe limits the visual gadgets and ideas that he used so virtuoso in "Lola rennt" in favor of more concentrated camera angles, but they are nevertheless original and at times large-scale. It is also thanks to him that such a deep and even metaphysical story is able to take place in the city of Wuppertal without being absurd (before that, I had found that those stories just work in America and the far East). There are some very beautiful takes and camera moves (I like those shots when the camera shows something as a close-up, and then it moves/zooms back to reveal the situation: the first(?; I'm not sure) appearance of Bodo on the bridge) and on this level the film bears comparison with Hollywood standards (actually, it does on every level). Connected with it, the lighting is atmospheric and emphasizes the mood and tone of the whole film. However, I could go on for hours like this and write about the supernatural ending (which polarized people), the subjects of the saving effect of love, of guilt and redemption (Sissi makes Bodo overcome his wife's death), of chance and fate (Sissi is convinced that her meeting with Bodo had a deeper meaning, Bodo is not convinced by that - at first), and much more, but instead I suggest something else: go and get this movie. Watch it. Be impressed by it, moved, entertained. Make it clear for yourself what the film's message is. But one thing you should do in no case: miss it. "Der Krieger und die Kaiserin" is a masterpiece. Summary: I am overwhelmed IMDb Rating (02/23/02): 7.5/10 from 1,208 users
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