The writer and director, Michael Schorr, is making his first film, but has the confidence and simplicity of someone who has been making films forever.
Schultze Gets the Blues (2005)
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Reviews Counted:63
Fresh:45
Rotten:18
Average Rating:6.8/10
Consensus: Schultze Gets the Blues is a sweet and charming dark comedy.
Runtime: 1 hr 54 mins
Genre: Foreign Films
Synopsis: After portly German salt miner Schultze (Horst Krause) and his cronies are forced into retirement, the emptiness of their nowhere, smalltown-Germany existence becomes sadly apparent. The only... After portly German salt miner Schultze (Horst Krause) and his cronies are forced into retirement, the emptiness of their nowhere, smalltown-Germany existence becomes sadly apparent. The only bachelor in his circle, Schultze falls into a dull routine of playing accordion in a polka band, fishing, napping, and tending to his garden gnomes. Then a chance encounter with Cajun zydeco music turns his life around, a little. Soon he is cooking jambalaya for his pals and playing zydeco to the somewhat shocked denizens of his sleepy burg. When his friends arrange for him to be sent to the U.S. for a German folk festival, Schultze seizes the opportunity to visit the Louisiana bayou, and so his one chance at a wild adventure in life begins. Overcoming the language barrier through his hat-doffing, old-world charm, Schultze finds himself strangely at home in this new environment. SCHULTZE is a slow-moving but lovely little tale about facing mortality, and how the power of both music and human kindness can transcend borders and boundaries, no matter what one's age. Director Michael Schorr plays this--his feature film debut--in a wonderfully deadpan, minor key. The film manages to be deeply moving without ever resorting to standard "fish out of water" cliches or manipulative soundtrack cues. Krause is resoundingly authentic in the title role, and the various (actual location) landscapes are rendered with haunting, lyrical realism. [More]
Starring: Horst Krause, Karl-Fred Muller, Rosemarie Deibel, Wilhelmine Horschig
Starring: Horst Krause, Karl-Fred Muller, Rosemarie Deibel, Wilhelmine Horschig, Anne V. Angelle
Director: Michael Schorr
Director: Michael Schorr
Screenwriter: Michael Schorr
Producer: Jens Korner, Thomas Riedel, Oliver Niemeier
Composer: Thomas Wittenbacher
Studio: Paramount Classics
Reviews for Schultze Gets the Blues
One of those movies where nothing whatsoever seems to happen until you look closely, at which point everything happens.
Schorr steers clear of emotion and character development, content to just putter down the river to nowhere.
Winner of the special prize for directing at the 2003 Venice International Film Festival, Schorr has made an impressive debut.
Michael Schorr's endearing little movie gets under your skin much like the music it celebrates, delivering a lilting paean to self-expression and second chances, even while it's tinged with distinctly minor-key grace notes.
Writer-director Michael Schorr has made a sweet movie that takes its time at first but soon takes you over.
There is so little to him, really, that Schultze's journey from there to here is rather less meaningful than we're supposed to imagine.
Director Michael Shorr's setups are slow and static, with the action unfolding in long or medium shots. In several concert sequences, the dancers annoyingly look right at the camera.
Reminiscent of the films of Aki Kaurismaki and Jim Jarmusch, this wry, very slow German import by Michael Schorr has amusing moments but doesn't possess the droll absurdity needed to make it genuinely compelling.
Important and thoughtful themes, which in other hands would likely have been weighty and overbearing, remain drolly deadpan in this accomplished debut film.
Defiantly slow-paced, Schultze gets the blues embraces a neglected subject: the wanderlust of the retiree.
Schultze Gets the Blues rediscovers the world through the astonished eyes of a retired German salt miner on a musical pilgrimage to the United States.
A rough-cut wonder, a movie that evolves from Teutonic inertia into a deadpan polka, a bouquet of edelweiss tossed into the melting pot.
Filmed in a leisurely, understated style, this dark comedy is downright entrancing.
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