Yella (D 2007, Christian Petzold) (Wettbewerb)

15 Feb 2007 von Stefan Höltgen

Ein dünner roter Faden zieht sich durch die Geschichte des modernen Films, ein Faden der eigentlich zurück bis in die Mythologie reicht und mittlerweile drei kleine Knoten aufweist: “Carnival of Souls” (USA 1962, Herk Harvey), “Carnival of Souls” (USA 1998, Adam Grossman/Ian Kessner) und nun “Yella”.

In Petzolds Films gibt es auch solche roten Fäden. Sie bilden das Gewebe der Bluse seiner Hauptfigur Yella (Nina Hoss). Diese stürzt zu Beginn des Films zusammen mit ihrem Ehemann Ben (Hinnerk Schönemann), der nicht darüber hinweg kommt, dass Yella ihn verlassen will, in die Elbe nahe Wittenberge. Wie durch einen Zufall überleben beide den Unfall und Yella reist nach Hannover, wo sei einen neuen Job annehmen will. Anstelle dessen verdingt sie sich jedoch als buchhalterische Beraterin für Phillip (Devid Striesow), der dabei ist, sich mit unterschlagenem Geld einen geschäftlichen Traum zu verwirklichen. Yella macht mit ihm gemeinsame Sache – doch immer wieder dringen die Geister der Vergangenheit zu ihr, sie bekommt mehrkwürdige Visionen und als sie mit Phillip in die Nähe ihres Heimatortes zurückkehrt, holt die Vergangenheit sie vollständig ein.

Es ist ein offenes Geheimnis, dass Petzold die Struktur, die “Yella” zugrunde liegt, Harveys “Carnival of Souls” entliehen hat. Dieser selbst operierte seinerzeit geschickt mit dem Motiv der Flucht aus jener Zwischenwelt, in der sich seine ebenfalls bei einem Autosturz in einen Fluss umgekommene Protagonistin aufhält, ohne zu wissen, dass sie weder tot noch lebendig ist. Das grundsätzliche Faszinosum an “Yella” stammt also von Harvey und so wäre nun zu fragen, was Petzolds Film dieser großartigen (aber eben fremden) Idee hinzuzufügen hat.

Es ist nicht viel, aber es reicht, um aus “Yella” einen passablen, unheimlichen Beitrag des jüngeren deutschen Films zu machen. Die Leitmotive, die sich vor allem in der Farbgebung des Films niederschlagen, füllen die Erzählstruktur zu einer Beziehungsgeschichte und einer sozialpolitischen Parabel, die vom Wegbrechen der Wirtschaftsstrukturen und denen damit verbundenen biografischen Problemen erzählen. Die daraus resultierende Hoffnungslosigkeit ist in beinahe jeder Einstellung des Films zu spüren – das Deutschland in “Yella” ist grau und kalt und selbst ein roter Farbtupfer, wie die Bluse Yellas ihn darstellt, ändert daran nichts.

Außer in der auffälligen Farbgebung (eben diesem Rot von Yellas Bluse) pflegt Petzold das optische Understatement und versucht weiterhin über den Soundtrack atmosphärische Akzente zu setzen. Neben recht unheimlichen Toneffekten während Yellas Visionen findet sich darin als Motiv auch mehrfach das Adagio sostenuto aus Beethovens “Mondscheinsonate” (ein regelreichter “Gassenhauer”, der zur Erzeugung melancholisch-unheimlicher Stimmung ungefähr so probat ist, wie eine Ladung CS-Gas zum Hervorrufen von Tränen).

“Yella” ist trotz solcher Plattheiten ein passabler Film geworden, weil er seine Vorlage geschickt aktualisiert. Die Figurenkonstellationen bieten ausreichend Ansätze zum miterleben, der kleine Betrugskomplott ist dramaturghisch geschickt umgesetzt und die Schauspieler fallen nicht negativ auf. Ja, ich bin nicht enttäuscht.

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