Arsenevich: Volker Schlöndorff - Der junge Törless (1966)

Alemán | Subs: Castellano/English/Français/Italiano/Português (muxed)

87 min | x-264 mkv 944x576 | 2500 kb/s | 256 kb/s AC3 | 24 fps
1,69 GB

El joven Törless

La película explora el problema ético del mal a través de las relaciones entre cuatro alumnos y su entorno en un internado austro-húngaro de principios del siglo pasado. La trama argumental se estructura a través de Törless, un estudiante adolescente recién llegado al internado, que hastiado por el tedio de la rutina cotidiana se relaciona con Beineberg y Reiting. Basini es otro estudiante que fruto de su descontrol en el juego contrae una deuda con Reiting que no puede devolver. Aquí comienza el principio de los problemas de Basini, ya que Reiting exige el dominio completo de éste al no serle devuelto el dinero.

Basini, al no encontrar a nadie que le preste el dinero opta por robárselo a otro compañero, Beineberg, pero al quedar delatado por la incapacidad de explicar la forma en la que consiguió el dinero empeora su problema. Ahora no sólo le debe dinero a Reiting sino que además queda declarado entre este círculo de amigos que ha robado dinero a Beineberg y este ya ni reclama el dinero como hizo Reiting, lo que hace es usar su nueva posición de dominación respecto a Basini para torturarlo como Reiting pero con otras motivaciones... ~~tomado del blog Un diario de lecturas

Young Törless

Volker Schlöndorff was Melville's assistant in Le Doulos, but it's the opening of Les Enfants Terribles that he draws extensively on in his film debut, for the benefit of the New German Cinema. The kids aren't all right in the Austro-Hungarian empire, a stay at a military boarding school reveals the seeds of the Third Reich (and of Lord of the Flies) in a series of biting outlines.

Young Törless leaves mommy's carriage and meets new colleagues, though expectations of a conventional coming-of-age story disappear as soon as the slattern the boys visit turns out to be the great vampire-lady herself, Barbara Steele dispensing sepulchral lyricism as one of the teens fondles her under the robe. The youngsters promptly change their choice of pleasure from sex to fascism: The oldest mouths slogans about superiority and violence, Basini becomes the victim of their sadistic power games. Terror tactics include whippings, scalds, hypnotism, intimations of rape, psychological degradation; Basini displays numbed acceptance, when Törless tries to show compassion he ends up blaming the victim for not striking back. "Is there a gap in our reality," the protagonist ponders at the equation on the blackboard: Törless is congratulated by a teacher on a "strong strain of independent thought," but his complacent impotence to the torture right in front of him looks ahead to the kind of ideologies that empower madmen. The attic is a stage for beatings conducted and rationalized, the dorm holds surreptitious warnings and mock-trials, the gym becomes an arena for madness en masse -- the rooms are like models for If..., yet where Anderson uses educational oppressiveness to trigger the students' revolutionary impulses, Schlöndorff presents it as an incubator for the horrors ahead. "Develop our minds and prepare ourselves now," Beineberg declares. "We'll live later."