Das Schloss 1968

[Lisa Nevilles]

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The Castle (German: Das Schlo) is a 1968 West German film directed by Rudolf Noelte and starring Maximilian Schell, Cordula Trantow, Trudik Daniel and Helmut Qualtinger. It is based on the 1926 eponymous novel by Franz Kafka. The film won two German Film Awards. It was chosen as West Germany's official submission to the 44th Academy Awards for Best Foreign Language Film, but did not manage to receive a nomination.[1][2] It was also listed to compete at the 1968 Cannes Film Festival,[3] but the festival was cancelled due to the events of May 1968 in France.

Das Schlo um filme de drama alemo de 1968 dirigido e escrito por Rudolf Noelte. Foi selecionado como representante da Alemanha Ocidental edio do Oscar 1969, organizada pela Academia de Artes e Cincias Cinematogrficas.[1][2]

Das Schlo ist eine deutsche Adaption des gleichnamigen Romanfragments von Franz Kafka. Unter der Regie von Rudolf Noelte spielten im Winter 1967/68 Maximilian Schell in der Schlsselrolle des K. und Noeltes Ehefrau Cordula Trantow die Hauptrollen. Noelte und Schell produzierten diesen Film auch, dessen Erstauffhrung fr die Internationalen Filmfestspiele von Cannes 1968 vorgesehen war.

Fr den Landvermesser K. ist das Schlo Symbol fr die Macht und die Diktatur der Apparate. Obwohl greifbar nah, bleibt es fr ihn ein unerreichbares Ziel. Er hat einen Auftrag vom Schlo erhalten, doch die Besttigung dafr bleibt zunchst unauffindbar. Auch im unmittelbar unterhalb des Schlosses liegenden Dorf existiert kein Platz fr K., man will ihn anfnglich nicht einmal im Wirtshaus bernachten lassen. K. scheitert an der absurden, undurchschaubaren Brokratie und der Gleichgltigkeit der Dorfbewohner. Im Bro des Gemeindevorstehers stapeln sich Hunderte von Schreiben, unentwirrbar nach keiner einem Auenstehenden nachvollziehbaren Logik geordnet. Ist womglich auch das Auftragsschreiben des Landvermessers darunter, liegt womglich ein Irrtum vor?

Der Film ist der erste Versuch, Kafkas schwer zu entschlsselndes Romanfragment auf die Leinwand zu bannen. In den 90er Jahren folgten zwei weitere Verfilmungen von Das Schlo. Noelte folgte bei seiner Kafka-Verfilmung der Bhnenversion Max Brods, des Freundes Kafkas.

Gedreht wurde der Film zwischen dem 9. November 1967 und dem 8. Mrz 1968 auf Schloss Bertholdstein in der Steiermark sowie in der unmittelbaren Umgebung. Rund hundert Jahre zuvor war Schells Urgrovater, Hofrat Karl No von Nordberg, Herr auf Schloss Bertholdstein.[1]

Das Schlo sollte auf den Internationalen Filmfestspielen von Cannes im Mai 1968 gezeigt werden, die jedoch aufgrund der Studentenunruhen in Paris nach etwa der Hlfte der Festivalsdauer abgebrochen wurden. Am 4. September 1968 wurde der Film schlielich im Rahmen der Internationalen Filmfestspiele von Venedig aufgefhrt. Am 9. Mrz 1969 erlebte er seine US-amerikanische Erstauffhrung in New York

Das Schlo war die einzige Kinoinszenierung des renommierten Theaterregisseurs Noelte. Noelte hatte diese Schlo-Bhnenfassung Brods bereits 1953 mit groem Erfolg fr das Theater inszeniert.

Die Filmbauten entwarfen Herta Hareiter und ihr Ehemann Otto Pischinger, die Kostmentwrfe stammen von Walter Schulze-Mittendorf, dessen letzter Kinofilm Das Schlo werden sollte. Ebenfalls ihre Abschiedsvorstellung gaben bei diesem Film Cordula Trantows Vater Herbert, der die Filmmusik komponierte, Tontechniker Oskar Haarbrandt und die Schauspielerin Else Ehser. Sie starb elf Tage nach Ende der Dreharbeiten.

Schloss's passion for the paintbrush was only matched by her passion for the pen. She became the leading cultural voice in Italy as Art Editor for the International Herald Tribune from 1968 to 1986. Later she wrote regularly for Wanted in Rome. The experience of New York, Rome and the Mediterranean offered Schloss a wide range of stimuli and inspiration. Yet over time her work grew more and more focused on the intimate and the sublime. She sought the quiet and balance in still lifes of homespun objects lined up against the pageant of the sea." She continued to write and paint until her death in Rome in 2011.

On 15th September 1968 there was a storm of unprecedented severity. It began about 10.30am when the two moats on the west side of the castle overflowed with rain water from the roofs and from the slope of the main lawn. This soon spilled into the cellars. Shortly afterwards a stream of water came rushing down from the Sunday Walk area, past the outer moat and towards the private driveway.

At about midday, river water forced its way along a drain line near the private drive lifting a manhole and cascading down the coke chute to the cellars. As the river level rose overspill became inevitable, first at 3.30pm near the tennis court and later the private driveway.

The cellars and basement were soon filled up and the surface waters swept southwards to meet the Castle Forecourt and the Tudor Garden. The whole building suffered full flood by about 6pm when members of staff and residents began to be taken out by boat and life line. This continued in the dark, and by 9pm all staff and residents had been rescued. The 1968 flood caused significant damage to the Castle and today there is still a mark so visitors can see the flood level.

Hever Castle has played host to many important events and celebrations for over 600 years. In 1903 when William Waldorf Astor set about restoring Hever Castle to its former glory, he added the Astor Wing, to accommodate his family and guests, before creating a lake and the spectacular Italian Garden to house his impressive collection of ancient Greek and Roman statuary.

Castle of the Creeping Flesh (Original title: Im Schlo der blutigen Begierde, aka Castle of Lust, In the Castle of Bloody Lust) is a German horror film that was plotted by Jess Franco, before he left the project to direct The Blood of Fu Manchu (1968).

In an ancient castle, a mad scientist is trying to revive his dead daughter by an operation, but there are certain body parts he needs that he can't get. His problem is solved when a group of drunken party-goers stumble into his castle.

These books have gone on to influence generations of writers, philosophers and political thinkers, The Trial (1962) being famously adapted for the screen by director Orson Welles, and The Castle or Das Schloss (1968) by Rudolf Noelte

However, in 1973 it emerged that Hoffe had been offering the highly desirable documents up for sale at foreign auctions. The documents would not only potentially sell for high prices but also generate very large sums of money for whoever purchased them.

Although it is known that some documents are in the Bodleian Library at Oxford University and the original manuscript for The Trial was sold to the German Literature Archive in Marbach for $2 million by Hoffe in 1988.

Hann Trier working with the sponge on the ceiling painting in the White Hall at Charlottenburg Palace, 1972

Hann Trier was born in 1915 in Kaiserswerth near Dsseldorf. From 1934 to 1938 he studied painting at Dsseldorf Academy of Art. In the Second World War he served as a soldier and at the beginning of the 1950s he lived for an extended period of time in Columbia. Following his return to Germany he was a visiting teacher at the Hochschule fr bildende Knste in Hamburg.

Hann Trier painting with two hands

In 1957, Hann Trier was appointed to a professorship at the Hochschule fr bildende Knste Berlin, where his students included Georg Baselitz, Peter Klasen and Marwan. In 1962 he married the sociologist Renate Mayntz. From 1967 he painted not only in Berlin but also at his house in Tuscany and from 1972 at his studio in the Eifel region. In 1955, 1959 and 1964 he took part in the Documenta in Kassel.

Hann Trier, Rocaille, 1965, egg tempera on canvas, 130 x 162 cm

In 1965, a few years after his artistic tribute to Watteau, Trier turned his attention to the principal ornament of the Rococo, rocaille. Rocaille ornamentation consists of S- and C-shaped scrolls usually combined with seashell motifs. It was in the same year, 1965, that discussions started on the future design for the Rococo ceiling in the White Hall.

In July 1965, after having weighed up the pros and cons of a reconstruction and a modern solution, the Department of Palaces and the Senate Department for Construction and Housing decided to invite Hann Trier to submit first draft designs for the ceiling. The final decision on commissioning Hann Trier to paint the ceiling was to be made at the future discussion of the designs with the Senators for Scholarship and Art and for Housing and Construction.

Sociologist, founding director of the Max Planck Institute for the Study of Societies in Cologne in 1985 and widow of Hann Trier.

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Hann Trier, study for the ceiling painting in the White Hall, New Wing, Charlottenburg Palace, 1966, matt paint on paper, mounted on particle board, 73 x 151 cm

In this study, Trier reduced the palette of colours to tones of blue and grey, combined with the white areas similar to clouds. The rib-like structures produced by painting with both hands simultaneously are more pronounced in this study than in the former two.

Hann Trier, study for the ceiling painting in the White Hall, New Wing, Charlottenburg Palace, 1966, paper, watercolour, body colour, pencil, 56.8 x 73 cm

The first studies for the ceiling painting included not only overall designs but also certain sections executed in detail. This study most likely related to the lower section. The background, which in the sample designs was almost invariably left unpainted, is done in a delicate blueish-green.

Hann Trier, study for the ceiling painting in the White Hall, New Wing, Charlottenburg Palace, 1968, matt paint on paper, mounted on particle board, 152.6 x 299.5 cm

The decision-making process concerning the ceiling painting in the White Hall went on and on. Hann Trier continued to work on his designs. Although consideration had initially been given to Trier also painting the surround, in 1968 it was decided to have this done as a reconstruction by Herbert Sommerfeld. In the later studies, Trier thus only sketched in the outlines of the original painting on the coving.

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