7 April 2005 | walterratjen
C.G.Jung's complex psychology turned into motion picture
The key to understanding the movie and profiting deeply from its hidden insights is to notice, to analyze and to reflect on the scenes in which a mirror is used by the director in order to tell a hidden story behind the apparent one. Any good comedy is just the communicable surface of a deep tragedy, and this is true for this movie, too. While Sonja Ziemann was 31 at the time of the reeling, she plays a girl about 10 years younger than that. Rudolf Prack plays a person who could very well be his true age, i.e. 55. This alone should warn one to take the story at its surface level. The most revealing scene, though, is the opening one which shows the first and biggest mirror, namely the street and sidewalk, whetted by rainfall, which image the cloudy sky above. The earth is the location that is capable of imaging, or capturing, the heavens. The mirror scenes can be categorized into 4 categories: Dany (Sonja Ziemann) alone with the mirror, Pratt (Rudolf Prack) alone with the mirror (only 1 scene which is very decisive), both of them separated by a mirror that makes up an axis through the scene, both of them being together by being located on the same side of that axis. Also, consider the figure of St. Martin in the rear of Pratt's studio. Whether director Borsody knew what he did is doubtful. The more astounding is the achievement accomplished: He did everything right, even if one relates the mirror scenes to theories of symmetry breaking in nuclear physics.