Once upon a time winning a prestigious film prize meant instant box office increase. Film buyers would anticipate the awards and make sure the films were in the theaters when news of the happy winners was announced. For some reason, the impact of the awards has changed. Or, perhaps, the films have changed. Or even better: film buyers have changed as many are empty executives who could just as easily be discussing pork bellies (but that is another story).
Last week, the Lolas were handed out: the German Film Awards. In an attempt to mirror the grand American award shows of past, the producers offered a mix of song-and-dance, erotic MCs, cute starlets introducing even cuter newcomers, homages to grand seigneurs of the industry and quirky film clips. In pure German bureaucratic olympic style, not one but three films are awarded best film: in gold, silver and bronze. Everyone on the red carpet - even Hannelore Elsner in some heinous pink carpet thing - was having a great time.
Except for...indeed, one person that evening was not a happy camper: Til Schweiger. Given, I am not a giant fan of Til's (even if he does look hot in Schiesser underwear ads). But you must give credit where credit is due and his Keinohrhasen basically saved the German domestic film industry - in fact, it saved the entire theatrical industry - this year. Currently clocking in over 6,000,000 admissions (read: "major blockbuster"), what else does Til need to do to be noticed? Imagine his chagrin when he found out that someone somewhere in distribution hell forgot to send in the official entry paperwork for the film? Therefore rendering his chances of a prize nil. Ouch!
That said, he probably would not have won. I ask you, since when do blockbusters win prizes... (OK, except for Titanic in 1998). Die Welle, currently on the way to blockbuster status with close to 2,000,000 admissions, won the Bronze Award. But the driving force of the film, Jürgen Vogel, was shunned sans nomination. In an effort to save face, the board did nominate Frederick Lau (who played easily influenced psycho-student Tim) - and he won! Silver Award (and best actor) went to Kirschblüten (aka Hanami). The best Doris Dörrie film ever (and I am a big fan), the film has hardly dented box office heaven (ca 550,000 admissions).
The Golden Film Award (as well as best director, screenplay, editing) went to Fatih Akin for his Auf der anderen Seite. Fatih shocked audiences in 2004 with his Gegen die Wand, portraying young Turks as actually having erotically sensual feelings and desires. This film again deals with political and cultural differences in a multi-cultural world of love and family relationships. But, come on... the film earned shy of 480,000 admissions and has been out on DVD since the end of February. I ask you: who can profit from such a win?
I know what you are thinking...where does Ralf Möller fit into all of this? He doesn't. Box office heaven or none, Ralf's films are just not Lola-lific enough.
Cheers, ciao and good on ya.
Last week, the Lolas were handed out: the German Film Awards. In an attempt to mirror the grand American award shows of past, the producers offered a mix of song-and-dance, erotic MCs, cute starlets introducing even cuter newcomers, homages to grand seigneurs of the industry and quirky film clips. In pure German bureaucratic olympic style, not one but three films are awarded best film: in gold, silver and bronze. Everyone on the red carpet - even Hannelore Elsner in some heinous pink carpet thing - was having a great time.
Except for...indeed, one person that evening was not a happy camper: Til Schweiger. Given, I am not a giant fan of Til's (even if he does look hot in Schiesser underwear ads). But you must give credit where credit is due and his Keinohrhasen basically saved the German domestic film industry - in fact, it saved the entire theatrical industry - this year. Currently clocking in over 6,000,000 admissions (read: "major blockbuster"), what else does Til need to do to be noticed? Imagine his chagrin when he found out that someone somewhere in distribution hell forgot to send in the official entry paperwork for the film? Therefore rendering his chances of a prize nil. Ouch!
That said, he probably would not have won. I ask you, since when do blockbusters win prizes... (OK, except for Titanic in 1998). Die Welle, currently on the way to blockbuster status with close to 2,000,000 admissions, won the Bronze Award. But the driving force of the film, Jürgen Vogel, was shunned sans nomination. In an effort to save face, the board did nominate Frederick Lau (who played easily influenced psycho-student Tim) - and he won! Silver Award (and best actor) went to Kirschblüten (aka Hanami). The best Doris Dörrie film ever (and I am a big fan), the film has hardly dented box office heaven (ca 550,000 admissions).
The Golden Film Award (as well as best director, screenplay, editing) went to Fatih Akin for his Auf der anderen Seite. Fatih shocked audiences in 2004 with his Gegen die Wand, portraying young Turks as actually having erotically sensual feelings and desires. This film again deals with political and cultural differences in a multi-cultural world of love and family relationships. But, come on... the film earned shy of 480,000 admissions and has been out on DVD since the end of February. I ask you: who can profit from such a win?
I know what you are thinking...where does Ralf Möller fit into all of this? He doesn't. Box office heaven or none, Ralf's films are just not Lola-lific enough.
Cheers, ciao and good on ya.