Die Erben 1983 1h 37min Drama 25 February 1983 (Austria) Storyline: A neo-Nazi organization is recruiting in the 1980s, and two youths of high-school age join for similar reasons, despite class differences. Thomas is the son of a self-made industrialist father and a scolding social-climbing mother. He attends private school and has a brother who's an accomplished musician, but neither can. Jul 02, 2018 The Inheritors (1983) Director: Walter Bannert The Inheritors focuses on Thomas Feigl (Nikolas Vogel, who had also appeared in Was kostet der.
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Turkey. Ukraine. United Arab Emirates. The Inheritors (1983)The Inheritors Blu-ray offers decent video and great audio, but overall it's a mediocre Blu-ray releaseOn his way home from school, 16-year-old Thomas helps Charly, an unemployed teenager, escape from the police. Despite their differing backgrounds, the boys become good friends, and Charly persuades Thomas to join a neo-Nazi youth group. Intrigued and confused by his new friends, Thomas, who is experiencing trouble at home and school, is drawn deeper into a web of sex and violence that leads to a tragic end.For more about The Inheritors and the The Inheritors Blu-ray release, see the published by Dr. Svet Atanasov on January 5, 2019 where this Blu-ray release scored 2.5 out of 5.Director:Writers:,Starring:,».
The Inheritors Blu-ray ReviewReviewed by, January 5, 2019Walter Bannert's 'The Inheritors' (1983) arrives on Blu-ray courtesy of Mondo Macabro. The only bonus features on the disc are two vintage trailers for the film. In German or English, with optional English subtitles for the German track. Region-Free.Consumed by hatredWhere are the police? So these animals are running wild all across town, trashing bars and beating people up, doing some really nasty things to stoned teenage girls right on the streets, and there is not a single policeman around to confront them?
This is West Germany during the late 1970s?The back cover of this release wants us to believe that it is because The Inheritors is 'based entirely on real characters and events that director Walter Bannert discovered in the neo-Nazi camps in 1980s Austria and Germany'. Fine, I don't doubt that he did. However, the cinematic characters can be based on authentic characters and this does not automatically make the reality that the film is trying to sell legit. In fact, the mayhem that is used to define it is so out there that it actually makes even wild genre films like Jack Hill's look rather restrained.
By the way, did you know that in the early 1990s Hill was invited to introduce a screening of Switchblade Sisters at a small festival in Sweden and much to everyone's surprise he confessed that it was made from a script based on William Shakespeare's Othello?The film opens up with a seemingly ordinary event that becomes the catalyst for the radical transformation of its main protagonist. While heading home, teenager Thomas (Nikolas Vogel) sees popular troublemaker Charly (Roger Schauer) being questioned by two policemen and helps him get away. Shortly after, the boys meet again and Charly introduces Thomas to a small group of brainwashed radicals. The leaders of the group are then seen working closely with some psychopath that openly dreams of relaunching Adolf Hitler's national socialist agenda and passionately 'educating' new recruits like Thomas that can help them promote their message. Naturally, after Thomas begins to feel comfortable with his new comrades, he, Charly, and a few other boys are frequently dispatched to do campaign work on the streets. But the more engaged Thomas becomes with his comrades, the more his relationship with his parents deteriorates. At school he is also branded a total loser and eventually forced to drop out.
The boy's ugly transformation is completed when his hate overpowers him and he slips into the dark abyss of madness.There are a few relevant points in this film about the dangers of radicalization, but their delivery is done in such disappointing fashion that the overwhelming majority of it looks comically unhinged, at times even flat-out grotesque. For example, the progression of Thomas' alienation at home is essentially summed up with a series of awful shouting sessions that are completely unbelievable and instantly forgettable. (His mother, in particular, overplays her frustration so badly that it is painful to watch). Then at the club, where the boy's brainwashing is supposed to occur, he only gets bombarded with drunken chatter courtesy of older men who already seem completely lost in their own idiotic fantasies.
Even if the boy is so alienated and desperately looking for someone, or something, to bring some sense into his life, it is hard to imagine that, as shown in the film, these rambling idiots can even begin connecting with him.The weakest material is the one where Bannert desperately tries to add some sort of a documentary authenticity to the official campaign rallies. Everything looks arranged in that very awkward way that immediately makes it impossible to even entertain the idea that the people in charge are actually on the same page and working toward some common goal. The speeches are pathetic drivel that no one with half a brain would waste time listening to, yet the film is trying to sell them as some dangerous and more importantly very effective propaganda that is helping a neo-Nazi movement spread like a cancer.Perhaps Vogel deserves some credit for bringing out bits of the cold anger that his character is obviously struggling with, but it isn't enough to take this film seriously. There are just not enough good supporting actors around him to make his radicalization look legit. Presented in an aspect ratio of 1.78:1, encoded with MPEG-4 AVC and granted a 1080p transfer, Walter Bannert's The Inheritors arrives on Blu-ray courtesy of Mondo Macabro.The strongest aspect of the technical presentation is the lack of digital tweaking that would have destabilized the film's native organic qualities. However, the new 2K transfer that was prepared - reportedly from the original negative - has its fair share of issues.
For example, the density levels never approach what a proper remaster struck from the OCN would deliver, which is one reason why some of the darker footage is actually quite problematic. Unsurprisingly, grain exposure is never as consistent and convincing as it should be. Virtually the entire film also looks softer than it should, though the softness is inherited, not introduced by digital tools. Colors are stable, but there is plenty of room for improvements, especially in terms of saturation. Finally, there are minor flecks, a few scratches, and plenty of blemishes.
( Note: This is a Region-Free Blu-ray release. Therefore, you will be able to play it on your player regardless of your geographical location). There are two standard audio tracks on this Blu-ray release: English Dolby Digital 2.0 and German Dolby Digital 2.0. Optional English subtitles are provided for the German track.I viewed the film with the German track and even though this is only a lossy track I thought that it was decent. My guess is that the audio was transferred as is without any restoration work because some tiny pops remain and there is even a bit of 'thinning' that appears to be age-related. The English track is a dub that isn't at all impressive. An excellent film about political radicalization is one that makes your legs weak and brings so much fear and anxiety in you that when its final credits roll you temporarily feel nauseated., and have had this exact effect on me, and I can honestly say that I never want to see them again.
I thought that the concept behind Walter Bannert's The Inheritors was rather interesting and there was enough potential for a memorable film, but the end product is so comically unhinged, at times even flat-out grotesque, that I never believed the awful transformation of the disillusioned boy. At one point it actually felt like I was viewing a bad propaganda piece conceived by Konrad Wolf and his comrades at DEFA to prove that on the other side of the Wall life really was as bad as they had advertised it. Why exaggerate the ugly and indefensible so much that you make it look like borderline parody material? This recent Blu-ray release of The Inheritors is sourced from a new 2K transfer, but there is quite a bit of room for meaningful improvements.
When I first saw this movie, I didn't quite know what to make of it. To be sure, there is a sense of intense violence and eroticism in this film that seems to be at odds with one another, and overshadows the performances, at least on the initial viewing. Is it formula? Perhaps, for all of the possible excuses for reaching for violence and hatred are here: indifferent and abusive parents, diminished school prospects, and poverty to some degree- however it should be noted that the most fanatical of the boys is the one who comes from a good home. By the end, there is little of him left but the desire to destroy, and the inevitable beauty that he will self destruct.
On that point, it is very tragic that Nikolas Vogel, the star of the film, passed away so very young. As the young fanatical neo-Nazi, we see him as a lovely, misguided young man whose confusion and disappointment throughout the film ultimately lead to the violent conclusion. He starts as an innocent kid, and finishes as the empty vessel that we all fear on some level.
Very sad that Nikolas Vogel didn't get to make very many films, for this one made a profound impression on me! This film in German, with English subtitles. It is about a boy named Thomas whose mother constantly yells at him, as well as her husband. As a teenager, he hates his home life and with good reason - his mother is verbally abusive and his father is a weakling.
He comes across another young guy similar in age to himself and becomes friends with him. Little does he know that this other fellow is a member of a Neo-Nazi youth group. Slowly but surely Thomas begins to get deeply involved in the Nazi organization and the dangers inherent within it.
Violence ensues as Thomas becomes more deeply involved in the organization. The ending is both tragic and startling. This is an excellent film, although the male nudity is probably uncalled for. However, the hedonism of this youth organization is quite germane to the historical behavior of the earlier Nazi youth organizations, even going back to the early 1930's.
In typical fashion, the film at times lacks connective action sequences, with the camera panning on a window or room for a long time without any dialog. However, as a European film, this is to be expected.
Overall, I think this is an excellent movie, but truly tragic in its ending. Any film that deals with the horrors of war is nasty on its very own base.But, when faced with the horrors that came from one of the most insane minds ever, things get worse. This film deals with a revival, of sorts of the Nazi ideals through a terribly mislead and dysfunctional group of very young people, drawn to the darkest pits of their reality. Political or not, this film would be branded politically incorrect in all aspects. And it is, indeed. The worst of its drawbacks is just that its own incorrect political issues were later (and still are) a sad fuel for some youngsters who believe their Fatherland should be defended the way Hitler did, and by the same means, even if their own were to be abolished from Earth. The deep consequences of the turmoil provoked in their minds (those of the young people who join the Youth Group or Party) suddenly turns into an unstopping vortex of violence.
All moral barriers are violated here. The only driving passion is the Party. The stories told are some kind of reliving the worst of the darkest times of war from the standpoint of the Nazi Reich. Well sorted, acted, filmed and scored, the film exudes reality. Since German is the language, the film sometimes gets too 'Hitlerian'. Thomas's mother being the most unnerving character (every bit of her admonitions are as Hitlerian as they can be, and well over the top). The rest are good at doing their job.
It's a substantial film, but, definitely, not for the faint hearted. You'll find moments of pure repulsion and scenes when you don't want to hear what's been said. I'm not Jewish, but it hit me as hard as if I were. The depiction of some gruesome dialogues and representations are simply disgusting. A great film with maybe too many gratuitous sex scenes, and with an eerie powerful omen of things to be in forthcoming years. This was an excellent movie on how, due to lack of love and warmth in a home, a child can find love and respect in gangs, clubs, and other youth organizations.
In this film, Thomas Fleigl is a poor student in school, driven to run away by a brutal and uncaring mother, who thinks she does right, but never shows love to Thomas or his brother. His father has let Thomas' mother run the home, a disaster in and of itself. The neo-Nazi 'dark' side is typical jewish influence. Not all Nazi youth groups were bad. This one is portrayed as evil.
The anti-homosexual bent is real and nicely done. The ending is sad and not well done. The Germans are notorious for long scenes without dialogue which can be somewhat boring, as compared to the action-adventure and fast style of Hollywood. I highly recommend this film to any younger person old enough to handle the sex scenes and the Nazi propaganda. In 1979, Austrian film director Walter Bannert was simply enjoying a meal at a Vienna cafe when he was beaten by a gang of neo-Nazis. That's when he determined that he would research these groups by convincing their leaders that he was making an objective documentary. He ended up spending three years with these groups in West Germany and Austria.
The Inheritors is what emerged, a film based on real people, events and conversations that Bannert actually experienced. Obviously, the film was controversial, with theatres screening it threatened by neo-Nazi sympathizers. Sadly, while it's over thirty years old, the rebirth of right-wing extremism means that it may even be more relevant today.
On his way home from school, Thomas helps Charly escape from the police. They couldn't be more different, as Thomas comes from a rich home, where his self-made father and music-loving brother are both dominated by his mother. Charly is poor and doesn't have much of a future.
Soon, the two are dreaming of a revitalized fatherland based on happy families, free from corporate control and dedicated to the environment, one that will be free from the influence of the West. They discover that they find a better family and friends within the party, as the rest of the world throws them away as they become more and more dedicated to the Nazi cause. 'Die Erben' or 'The Inheritors' or just 'Nazi' is an Austrian German-language movie from 1983, so this one will have its 35th anniversary next year. It is perhaps the most known non-television series work by writer and director Walter Bannert. Lead actor is Nikolas Vogel who got unlucky when he was killed working as a war photographer in the early 90s. Here he plays a young man who gets drawn into the movement of a new group that apparently works and functions in accordance with the Nazi's ideals many decades ago.
So the inheritors listed in the title are inheriting the Nazi heritage if you want to call it like that. The members find a haven in this group as they are the ones ignored by society for the most part and also struggling with family life for example not getting enough parental love. But for some in here homosexual feelings get in the way as they are obviously not in line with the group's ideals. I personally must say that I was not too impressed with Vogel or any of the supporting characters here.
It is a very bleak film, but it also felt lacking depth from start to finish basically, the minor characters just felt like they did not add anything at all to be honest. I already made a parallel in the title of my review and I suggest you watch the film I mentioned there because it is certainly superior compared to this one here (and that refers to the German film as well as the English-language short film). In any case, I think the story and background and general plot offered the opportunity of a much better film here than it actually turned out to be. I give these slightly under 90 minutes (slightly over with credits) a thumbs-down. Not recommended.