"Berlin Alexanderplatz" (1980) TV mini-series

Seasons:

1

Release Date:

10 August 1983 (USA)

Genre:

Drama

Plot:

This film, which is basically the longest narrative film ever made, is a 15-1/2 hour episodic exploration of the character of Franz Biberkopf...

Plot Keywords:

Remake | Beer | Homosexuality | Critically Acclaimed | Jail

Awards:

1 nomination

Cast

Günter Lamprecht	...	Franz Biberkopf (14 episodes, 1980)
Karlheinz Braun	...	Rechtsanwalt Löwenhund (13 episodes, 1980)
Hanna Schygulla	...	Eva (12 episodes, 1980)
Claus Holm	...	Wirt / ... (12 episodes, 1980)
Franz Buchrieser	...	Gottfried Meck (11 episodes, 1980)
Brigitte Mira	...	Frau Bast / ... (10 episodes, 1980)
Roger Fritz	...	Herbert / ... (9 episodes, 1980)
Gottfried John	...	Reinhold Hoffmann (9 episodes, 1980)
Barbara Sukowa	...	Mieze (7 episodes, 1980)
Günther Kaufmann	...	Theo (7 episodes, 1980)
Ivan Desny	...	Pums / ... (7 episodes, 1980)
Volker Spengler	...	Bruno (7 episodes, 1980)
Vitus Zeplichal	...	Rudi (7 episodes, 1980)
Barbara Valentin	...	Ida (6 episodes, 1980)

Also Known As:

Berlin Alexanderplatz: Remastered (Germany) (restored version)

Runtime:

West Germany:894 min (14 parts)

Country:

West Germany

Language:

German

Color:

Color

Aspect Ratio:

1.33 : 1

Sound Mix:

Mono

Certification:

Germany:12 | Argentina:13

Filming Locations:

Berlin, Germany

Company:

Bavaria Film

Trivia:

It took nearly a year to make this series.

Movie Connections:

Featured in Z Channel: A Magnificent Obsession (2004) (TV)

A Master's Masterpiece

This is my third time through, the first having been at its US theatrical release in the early 1980's and the second on video cassette in 1994. The new DVD set confirms my feeling this is the best work of performance in German since Wagner's Ring.

I am put in a trance by the mise-en-scene, the obsessive repetition of themes and variations in music, narrative, visual detail, camera angle, color coordination.

This elegy to the Age of Reason, the illusion of progress, the delusions of civilization, to my way of seeing, killed its creator and left us with a paradox: How can a work so pessimistic of our primacy as animals prove so conclusively the very primacy it refutes?