MovieChat Forums > Funny Games (1998) Discussion > Breaks the most important rule of storyt...

Breaks the most important rule of storytelling...


*SPOILERS* (obviously...)

A bet. "Will the heroes survive their ordeal and defeat their adversaries?" It's a bet we make each time we watch a film, and there is an implicit contract with the storyteller to offer catharsis, some sort of emotional release coupled with reassuring closure, so that we can safely resume our lives after willfully undergoing the rigors of any good story. This conflict and tidy resolution is the essential component of any drama. The subversion of this contract in Funny Games explains why the film remains to this day such a controversial and frustrating work. It is also exactly why Funny Games is such an essential piece of cinema.

Haneke's willingness to challenge and provoke his audience is astonishing and daring. He breaks the fourth wall with Brechtian techniques and makes his audience complicit in the violence that they consume. For that reason, it is no wonder that this film elicits such strong emotional reactions. Take for example the cruel scene where Anna is forced to strip by her captors in front of her family. The direction of this scene is masterful. The camera keeps tight on her face, already painfully swollen with tears, as she is debased and degraded. It's an undeniably moving human moment that fully expresses the pain of being exposed and completely vulnerable in the face of inhuman cruelty. Considering the level of hostility directed at this film with its reputation of cruelty and senselessness, what's most impressive about this moment is the tenderness and sympathy with which it is directed. Haneke spares Anna the humiliation of being exposed before the audience by stoically keeping the camera on her face throughout the ordeal, forcing the audience to contemplate the effect of pornography on women. Whether you agree or disagree, many feminist critics argue that pornography is a form of media violence against women, and it is interesting that for all the critical discussion of media violence generated by this film, pornography usually doesn't enter the discussion. The infamous remote gimmick which denies the audience the cathartic pleasure of killing the bad guy stands out, but the subtle condemnation of pornography during Anna's ordeal is just as provocative. Consider that during the cat-in-the-bag game, the audience is denied the ability to derive pleasure from seeing a naked woman until she changes clothes after her son is brutally murdered right before her eyes. At that point, any eroticism that could be generated is lost and anyone who sought it during the earlier scene would likely be ashamed. I believe that this is another example of Haneke's brilliant mockery of the consumption of violence that seems to be lost in the discussion of the film.

Another layer is added to this by the fact that the child's eyes are covered by the antagonists, "to preserve moral values." That is an incredibly astute satire on the idea of censorship for the sake of the children and the assumption that making children blind to the violence around them prevents them from being affected by it. The child in the film was not only not blind to what was going on, he was perversely made to be part of it.

I'm having a hard time collecting my thoughts or even shaping a coherent analysis after seeing this brilliant film. I'd love further discuss and to hear anyone else's thoughts on the film, whether they loved it or hated it...and what you thought were some interesting themes and points raised by the film.




And you will know my name is The Lord when I lay my vengeance upon thee!

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[deleted]

Wow did you really have to be so rude about it? That pretty much never does anything except make you look bad. People won't respect what you have to say and will automatically tune you out. I enjoyed the read because I have never heard anything about the movie and was happy to see some new insights (New to me. Apparently none of it is new, so it doesn't matter).

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I'm glad someone enjoyed the read...lol

If you haven't seen the film yet, I hope I've piqued your interest. Like it or hate it, it's a unique cinematic experience.


And you will know my name is The Lord when I lay my vengeance upon thee!

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I wasn't writing a thesis here, I was merely offering some points I found interesting and hoping to encourage a lively discussion. I see you didn't take the bait to offer anything.

At any rate, the film is over ten years old, inspired a heated critical debate upon its release which analyzed every aspect and the director has been very vocal about his intentions with the film. All the critical groundwork has been largely covered; but if you would like a Marxist, Freudian or feminist analysis, I can attempt a reading on those levels. But then again, that ground has already been covered, I could only offer what I find provocative about it.



And you will know my name is The Lord when I lay my vengeance upon thee!

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To RaidenPLS: I just saw the film and was very drawn in by it. I enjoyed your thoughts about the film and its different messages. Especially the bit about pornography and the denial of chathartic release. Haneke very much plays with the audience, by refusing us what we want to see. The clever guy majored in psychology, you know. :P

I would be very interested in the Marxist and the Freudian interpretation of yours. Then maybe we can still have the heated debate you have been dreaming about...?

In an interview, Haneke mentioned the question of Genre. He sais, he did not write it as a horror film. But he told the family to play a tragedy, while the two guys play a comedy. This mix reminded me of Cronenbergs "A History of Violence", which IMO does roughly the same thing.

On the boat, Peter and Paul talk about the Tarkovsky film Solyaris, where the protagonist travels to an antimatter universe, while his family is stranded in our universe. Then he finds out, that one of the universes is real, whereas the other is fiction. All that time, the main problem seems to be the difficulty of communication between the two universes. Now, I am not sure, if I am getting all of the reference. What does it add up to? Two angels, mediating between real people and the Gods (i.e. us)? Or is it about the question of being real? "You see it in the film, so its real."

Caught your attention? :D

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I think the film takes on a remarkable significance when analyzed through a Marxist lens. One of Karl Marx’s main concepts was that society was dominated by ideas that have no basis in reality—ideas that obscure reality and lower our awareness of the exploitation of the masses by the few. We are made complacent through constant reaffirmation of the status quo as it is necessary for those few who benefit from the status quo to conceal oppression through these means. Radical cinema, following Marxist logic, is cinema which makes the masses aware of mistreatment and subjugation, through fundamentally radical and jarring techniques. Sergei Eisenstein famously accomplished this through revolutionary editing techniques where the photography seemed to be in conflict with itself, creating in the process the legendary “montage theory” of cinema.

One of the more radical aspects of Funny Games is that it takes Marxist ideology a step further. It suggests, unlike classical Marxist theory, that it is not just the few who exploit the masses in defense of a status quo which is advantageous for them, but the masses have now been conditioned to do this to themselves as well, perhaps through cultural osmosis. Exploitation has trickled down, and we see this in our cultural bloodlust, specifically in cinema which has turned violence into a sanitized spectacle to be enjoyed—a product to be consumed as surely as bottled water. We have been conditioned to enjoy the debasement and subjugation of mankind.

Funny Games succeeds in exposing this phenomenon with an abundance of Brechtian techniques (Bertolt Brecht was himself a committed Marxist) to alienate the audience and make them consider the political ramifications of the actions on the screen. Paul directly confronts the audience with their own frightening lust for violence, making them an active participant in the violence against the family. Haneke manages to construct one of the most shocking films of all time consistent with his political objectives, doing so without showing violence on-screen because he uses editing techniques to disguise it. The audience is confronted with the impact of violence rather than with violence itself, and when violence is depicted on screen, because it goes against his intentions and because it rewards the audience’s consumption of violence, Haneke injects himself into the celluloid and rewinds the film, indicating that violence, even “justifiable” violence is always wrong.

As I mentioned in the OP, one of the most significant aspects of the film is the deliberate denial of catharsis. Giving the audience a “happy ending” when dealing with a subject as serious as violence would contradict his anti-violent message. It would become a self-contained exercise that is over when the credits run. He gives the film political implications by denying catharsis, because it fully confronts the audience with the repercussions of violence and the consumption of it. If we are comfortable with turning fictional characters into objects to be tortured and debased, why should we be allowed to have a happy ending? It only clouds the reality of violence. Violence is messy, it is cruel and it rarely has a happy ending. Portraying violence as something that is resolved cleanly and neatly by film’s end is counterproductive. Using fictional characters as pin cushions is the perfect metaphor for the exploitation of the working class, and Haneke is trying to make us aware that doing so is morally wrong. I may not wholeheartedly agree with that, but it is undeniably provocative food for thought.


And you will know my name is The Lord when I lay my vengeance upon thee!

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I rarely ever post on these forums, because attempting an honest, cordial and intelligent discussion on these boards is something that I've never seen happen (this thread being no exception).

Just wanted to thank you for the truly thought provoking response you've taken the time to offer on this excellent film. I enjoyed reading what you had to say about it, and actually feel like I've gained an even deeper appreciation for the film having read your posts.

Cheers. Post more often.

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Thanks for the kind comment!

Actually, in spite of encountering occasional hostility I feel like I've learned more about film conversing with people on this website than I ever would've been able to otherwise...there aren't many film buffs where I'm from.

It's worth all the effort, so I hope to see you around more often



And you will know my name is The Lord when I lay my vengeance upon thee!

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Marx also said, "I refuse to belong to any club that would have me as a member."

Sorry, wrong Marx.

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Literally laughing out loud!

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dude its not the first film to ever have an unresolved ending. no point getting excited about it.

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Unresolved? The family is dead, the two clowns go on playing their funny games.

What it does, is not giving you the things you want to see. You want to see them getting saved, finding help, hitting back. You want to see those *beep* die!

Instead, Haneke shows you, that he knows exactly what you want to see. Then he takes it away again. He will not give you the bloody revenge you crave for. But he wants you to understand, what it is that you want to see. What this means. You seek to witness a murder, brutal graphical violence. You want to see them die. As painful as possible. Isnt that kind of sick? You can only realize this by not getting what you want.

Thats whats so brilliant about it.

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So briliant about it? Maybe I am confused but I dont need a filmmaker to tell me that an audience wants to see a bad guy get punished. I, also, dont have to be deprived of that ending to come to some dramatic conclusion about the human condition.

Were they trying to convey some sort of testimony about violence in The Princess Bride when Fred Savage and Peter Faulks characters had the dialogue below.

"Who gets Humperdinck?"

"I don't understand."

"Who kills Prince Humperdinck at the end?"

Then as you know if you have seen the movie, that Humperdinck lives. Even a small child knew that villians are "supposed" to be punished in the end. Was that supposed to mean that this 8 year old kid having a fairy tale read to him by his grandfather has developed some kind of blood lust because he wanted to see the villain killed? Of course not. It has nothing to do with the effect of the media on people and their lust for violence. It is human nature.

Maybe I am too jaded and dissillusioned, but this movie had absolutely no effect on me. Now maybe if I saw it in 1997 it might have. I dont know.

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I see your point, but The Princess Bride isn't concerned with the same themes and issues that Funny Games is. Just because Fred Savage raises a similar issue in one brief exchange doesn't make it a salient point for that particular film, and it isn't the same terrain Haneke is exploring. The Princess Bride is a brilliant movie in its own way, and undeniably entertaining--but how can you compare the two and expect to be taken seriously?

Also, I disagree with your supposition that wanting vengeance is human nature. It is a cultural construct--and irrational at that. We want villains to be punished because our whole history of storytelling has conditioned us to want it, not because humans are necessarily wired to feel that way. People try to use "human nature" as justification for the bad things humans do, when reality isn't so simplistic. More often it is institutional or structural mechanisms at work.

oAnd you will know my name is The Lord when I lay my vengeance upon thee!

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excellent analyses Raiden

stay until Wednesday and write me a childlike letter pretending

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... and institutions and structures are created, surprisingly enough for you, it seems, by humans - to fit certain purposes, perpetuate and enforce values and guidelines.
Also, "cultural constructs" are also the product of people. As are stories. But of course, they can't possibly reflect true human nature, no. They're some sort of evil mechanisms designed to enslave us, it's plain as day!

Yeah right. Bloody wanna-be socialists have no bloody clue what communism actually smells like, trolling forums spewing this garbage - "analysis through a marxist lens" - well you know where you can put that lens don't you? Why don't you do a "nazi lens" analysis while you're at it, I'm sure you can work something out...

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Are you serious? I'm embarrassed for you


And you will know my name is The Lord when I lay my vengeance upon thee!

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"Then as you know if you have seen the movie, that Humperdinck lives"

Humperdinck lives in ignominy. He is spared in order to be punished, to live with his failure and self-loathing for the rest of his life with everyone knowing what a humiliated low-life he is. This is a case of "the bad guy does not win in the end."

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I would have been quite happy if the villains would have been caught and gotten a fair trial. :-P

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Haha! Well done, this made me laugh out loud...

And you will know my name is The Lord when I lay my vengeance upon thee!

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Really, what was so funny about that?

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i thought what you had to say was interesting. i just watched this after first watching happiness by todd solondz. the two work together well in way. happiness lifts the veil to show us what creatures people really are under the surface, and funny games toys with us to show us our own true nature.

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I haven't seen Happiness but I'll check it out on your recommendation. I watched Welcome to the Dollhouse and absolutely loved the dark humor, so I'm sure it's up my alley.

And you will know my name is The Lord when I lay my vengeance upon thee!

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Good post, Raiden!

Those are my principles, and if you don't like them ...well, I have others.
-Groucho Marx

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First class post Raiden.

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There are no rules of storytelling! It's only the Hollywood crap screenwriting dogmas which tell you such.

"Breaking the fourth wall" - it's nothing new. Brecht did it in 1925. Godard did it in 1965.


"A voice from behind me reminds me. Spread out your wings you are an angel."

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I would say that is true storytelling has no fundamental rules, but catharsis was defined as early as Aristotle and has come to be expected by a large part the audience--hence the unusually emotional reaction to the penultimate scene in Funny Games. The Hollywood formula is definitely pervasive and it's surprising how much our perceptions and expectations have been altered by conventional narrative storytelling. Films which try to break out of those conventions are often met with hostility or seen as 'pretentious'.

"Breaking the fourth wall" is certainly not new, Brecht and Godard were pioneers of the technique, but it's impossible to deny that Michael Haneke used it in a striking and impactful way and I was commenting on how impressive his use of the technique was in Funny Games.

And you will know my name is The Lord when I lay my vengeance upon thee!

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This movie is AGAINST senseless evil, so it cannot be a hypocrite, and it isn't one either. Which is what makes it great.
Proof? Here: You feel discomfort watching it? Well, guess ******* what .. The director feels the same way!

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Haneke injects himself into the celluloid and rewinds the film, indicating that violence, even “justifiable” violence is always wrong.

raiden..good posts, makes people think and makes them use their heads for something else besides a hat rack!......
I think the themes Haneke plays around with in the film is absolutely astounding. He forces a viewer to confront his position in a moral universe and that's where I ask where is Haneke when it comes to "justifiable" violence. Is it really true that through the "rewind" he believs it is not? I don't know. if there's no "justifiable" violence how the hell does civilization continue? All we have to do is take a look at the early 20th.

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I wouldn't say that the rewind is a condemnation of justifiable violence in-itself. Instead, it is a condemnation of our relationship to justifiable violence as spectators. The rewind scene has two significant motivations: the deliberate denial of catharsis, and a condemnation of violence presented as justifiable spectacle.

The point isn't whether or not the violence is justified but whether the thrill we get out of seeing it is justified. The film doesn't let the audience off the hook for enjoying violence (hence the hostile reactions the film occasionally generates in its detractors).

And you will know my name is The Lord when I lay my vengeance upon thee!

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In another thread I made this point about Haneke's brilliantly ironic use of a remote to deny the expectations of the audience:

I actually think there's something clever about Paul using a remote to pull a fast one over on the audience. A remote is generally reserved for the passive audience--it is used from a distance so that the user doesn't even have to get up to change the channel. In that sense, it's a symbol of the complacency of its user. The remote is used by the audience to completely control their television, to track down more satisfying programs, to rewind interesting action, to change the channel from the uninteresting material. In this film, Paul uses it to contradict the desires of the audience! It's a subversion of what a remote is supposed to do, which is increase our complacency and maximize our pleasure..."Haneke, you sassy BITCH!"


I think that particular level of irony is often overlooked because of the shock of the scene but I can't help but feel that the irony was intentional on Haneke's part--using the symbol of the complacent television audience against their expectations. It is yet another key element of his scathing satire of media consumption.



And you will know my name is The Lord when I lay my vengeance upon thee!

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The point isn't whether or not the violence is justified but whether the thrill we get out of seeing it is justified. The film doesn't let the audience off the hook for enjoying violence (hence the hostile reactions the film occasionally generates in its detractors).

Yes, I see that now. And I've got the feeling Haneke wouldn't be too comfortable in Rome in 5 AD in the Colosseum. There violence was state subsidized. Come to think of it Rome and its high civilization lived on for awhile side by side with all that killing and we know what happened. I think the bell will toll for us if we're not careful in our post-modern approach to violence.

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Well in regards to saying that out thirst for justifiable violence is motivated by the storytelling morales and not by human nature is out of touch with the real human need to kill in order to survive. I'm not saying we spend every day wishing that someone is going to die, but in really dire circumstances, where it's kill or be killed, you should have the courage to use violence to save yourself or someone else. Even though Haneke has said in an interview that he's critical of the audience cheering at Anne shooting Peter, even though he's a human being, it's hard to not cheer when a person is so disgusting that he's barely a human being. So yeah if Anne had really killed Peter, I would have cheered too because I'm glad she stood up for herself and saved herself and her husband from these evil freaks. That's why we cheer and we don't see there's harm in killing people who are so inhuman and unredeemable. But Haneke has a point in thinking the joy in violence, against whoever, is out of control and dangerous to embrace, so that's what he wanted to hit people with in the rewind scene.
What I did observe is that even if Anne had killed Peter, Paul would have killed her anyway because he grabs the rifle from her and knocks her back onto the couch as a way of regaining power. So either way the film ended, killing Peter or not, she was going to be killed anyway along with Georges. So I wonder if Haneke also wanted the film to turn out that way to show that no matter how strong and defensive we can feel in dire circumstances to kill someone who is threatening our lives, it doesn't work out as we expect it would since real life situations are far from a likely outcome. It definitely leaves the audience vulnerable to see the family die and then watch as Paul evilly smiles at the screen to say he will kill again, which makes me still wish he and Peter would meet their fate and not care if I cheer at their deaths. As long as those punks are willing to kill more innocent people that they come across, I don't know what other fate they deserve and why we shouldn't wish for it, unless they get captured and thrown in jail or an insane asylum. I don't know how to cry for people that heartless and inhuman, which makes the rewind scene ineffective in making me think twice about justifiable violence.
That's how it works in dire circumstances - kill or be killed - and defending one's self against an evil human, we cheer. People cheered about the death of Osama Bin Laden because of how evil they saw him to be, so that's what makes it human nature to wish for the death of people who are committed to killing for the rest of their lives. It's what gives us the courage to fight inhuman people, however ugly it may be to cheer at the death of a villain. It's not a narrative that motivates us to wish the worst for a villain, but any dire circumstance that makes us anxious to defend ourselves. However, I've never been in a dire circumstance of "kill or be killed", so until that time comes, I don't know, even though it's the movies that make me feel strong about fighting back. Real life situations might be a different story once they happen.

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Strictly speaking, I would say that Haneke's thesis is that there is no reason to find joy in killing regardless of whom the violence is committed against.

It is fine to be relieved if someone is killed in self-defense but it shouldn't inspire the kind of jubilation and frat-boy high-fives usually motivated by such cinematic spectacle (a truly bizarre impulse which is so brilliantly subverted by this film). The success of the remote control scene, for me, is that it counteracts the spectacular element of the typical final act reversal of fortune and the audience's reaction to it. It forces us to confront not only the reality of violence, but the reality of our consumption of it.

Inevitably, the effect typical thrillers inspire is that the violence is completely unreflected upon by the audience. A few victims may perish along the way, but it is all negated by the violent comeuppance perpetrated against the villains, and the effect is that we assume violence is a proper response to violence (and we are of course entertained all along the way!).

So often in the critical commentary on the film, people ask a lot of silly questions: Why didn't the family put up more of a fight? Why didn't they react more heroically when their son was murdered right before their eyes? etc. This is how much cinema has warped our relationship to violence--we expect violence to be the solution to violence, to put everything back in order. Oftentimes, horrible things happen and there can be no heroism, there can be no dignity; all we can do is meditate on the fragility of our lives and grieve our losses.

That is why this film is such a poignant portrait of the reality of evil. The audience experience parallels that of the victims in that we are completely powerless in the face of sadistic evil. Haneke subjects us to this harrowing experience and confronts us with the true senselessness of violence.

And you will know my name is The Lord when I lay my vengeance upon thee!

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Hello RaidenPLS,

Really great thoughts on FG. You write about it with an understanding that's rare in a forum like this one.

I have a few problems with MH's film and since these things are built for conversation I thought I'd throw this out there.

In short, if FG is a film that wants to make to audience aware of how they consume violence, and wants to chastise the audience, punish them, for desiring violence.... well, who is this audience Haneke is going after? The film is interesting because it is recursive, and that always makes for discussion, if not good discussion, but the film treats the viewer in a very particular way, and that, in my view, is in more keeping with dogma than art.

We can see from the way the film is remade in the US that there is an agenda the film has, to insert its argument in to a very particular place and time. Maybe Watts or Haneke saw some Hollywood films and thought, now more than ever Hollywood needs Funny Games! But it isn't audiences making *beep* revenge thrillers (as a counterpoint to FG, though, is Tarantino's Kill Bill franchise, which takes a whole different view on violence in film and how it can be used) -- it's filmmakers.

Is a high-fiving frat bot going to see FG? Is the audience who really and truly needs to see this movie going to see it, and would they listen to it if they did? On the flip side, of course, there's going to be some interesting discussion that smart people such as yourself raise as a result of seeing this movie -- but there you go, the audience is often smart are they not?

It's the creation of a certain kind of audience to advance the aims of the film, to slot the viewer into that role as spectator without freedom that makes Haneke's film didactic. It's commendable in that it does deal with viewer expectation, but the way it conceives of the viewer is condescending to say the least.






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Thanks for the response

As far as ambivalence from the target audience goes, I can't comment. I know I enjoy the film, but then again I'm already a fan of recursive art-films. I will say, however, that the film only chastises and punishes audience members who go in expecting another routine violent spectacle.

I think that Funny Games is so effective in its didacticism that it alienates a lot of *intelligent* people who don't know what to make of it. I never took personal offense to Haneke's polemics because I approach it as a fresh perspective on cinematic violence, one that is very rarely ever spoke of or even considered. Behind all the didactic Brechtian techniques and audience-baiting (which I think is essential to bring home Haneke's message about violence) the film is a deeply spiritual and meditative humanist exercise contrary to a particular kind of cinema, which I also enjoy, that is represented by Quentin Tarantino, Sam Peckinpah, and similar directors (and allow me to reiterate that Pulp Fiction is my all-time favorite film).

I am always surprised when people call this film condescending, because I don't see how Funny Games is any more condescending than a film which depicts violence as mere spectacle. At any rate, Michael Haneke is the last person I would call "condescending" considering the amount of intelligence he expects from his audience and actually engages with each of his films.

It does go deeper than mere cinematic points-of-view though, because Haneke isn't just interested in cinematic violence. With this film, and all of his films, he asks us to consider how our relationship to on-screen violence affects our perception of violence in the real world. As long as we actually use our intelligence to evaluate the action unfolding on the screen (instead of just absorbing these messages passively), we can actually confront these issues proactively.

I hope to hear more from you, and I'll be glad to discuss this film (or others) further!




And you will know my name is The Lord when I lay my vengeance upon thee!

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Ok, I wasn't gonna post at first but u made me :)
I wrote most of what u've said and i agreed with you more than with some other OPs here.BUT you are basically repeating yourself limitlessly on 3 whole pages while you made your point clear after a couple of posts...seems like you made your doctorate thesis on this movie..:)
And as far as i don't like stupidity , i don't appreciate too much philosophy as well.
It is obvious that this is an anti-horror movie but it is a stupid anti-horror movie!
Lets get real a bit here.
There are a lot of typical Hollywood horror movie moments in here- We are in a mortal danger and we have some time to do something about the situation and what do we do- oh, lets dry a phone with a hair dryer for a bit? um, who shall we call? no no, i will dry it, i wont hide or drive away with you and- you go..sure, i will go into the unknown and take absolutely no kind of weapon with me? ah and ofc they will catch me on the road?!..
The victims are just too pale bloodless and lifeless, you don't relate to them- they are not REAL. While antagonists were very convincing(the smart one even grows on you), i was waiting for the protagonists to wake up! They act unnaturally to the given situation and don't tell me its their 'manners'.Not having a slightest instinct for a survival is even beyond Hollywood stupidity let alone reality. The case being that Haneke is pushing it too far for the purpose of making his point.
Its too artificial and an insult on intelligence ( as well as the villain talking to the audience parts)
Different movie?Yes.Nice try?Yes! Good movie- Im afraid you didn't convince me Haneke, actually i'm glad you didn't ;)

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Lol! Yes, I'll be the first to admit that all my commentary here has been pretty self-indulgent. Given your impatience with philosophy, it probably doesn't help that I was a philosophy major--so I'm more inclined to obnoxiously systematic analysis than most (it's one of my more maddening qualities ).

But I wouldn't say I've repeated myself. Actually, my views on the film have changed pretty significantly since I started this topic. I've been trying to sort out my thoughts about this vexing movie, and I believe I finally came around to a sensible and coherent position.

In any case, your criticisms give me an opportunity to explore the formal qualities of the film, whereas--in this thread--I've mostly focused on the content and the meaning. The protagonists weren't realistic. I grant you that point. This film is satire, and more specifically, I've come to the conclusion that Haneke intended it as high comedy (a comedy of manners). As such, Haneke's typical disciplined commitment to hyper-realism is cast aside in favor of the highly exaggerated (indeed, artificial), extremely refined characterizations demanded by high comedy. So, the criticism that it isn't "realistic" actually doesn't mean anything. You've merely put your finger on the fundamental artifice of this particular genre for which there are no suitable analogues in an American literary or cinematic context. America, unlike Europe, lacks a rigid "high culture" tradition, so this highly artificial genre tends to fall flat for American audiences. We Americans tend to be more adrenal than cerebral, and so we tend to prefer bawdy low comedy (and straight horror) to refined high comedy... If the film were realistic, as Haneke's other films are, it couldn't function as high comedy. True satire is predicated on an exaggerated presentation... This is the film's intent! I think it's a mistake to approach this film as a straightforward horror film, or as an exercise in realism...

I do have a few questions, if you're willing to answer them: First, why is artifice a problem? Why are you so insistent on realism? What you are actually demanding, whether you realize it or not, is 1:1 verisimilitude with life. You seem to expect authenticity from a fundamentally artificial genre. Why? Second, is it possible that the film actually *engaged* your intelligence, and your resistance to its effects is because it didn't conform to your expectations? Because, simply, you were expecting an adrenal experience and received instead a cerebral one?

This film is a masterful example of high comedy. It is more suitable to compare it to Oscar Wilde's "The Importance of Being Earnest" or the highly refined (and artificial) works of Molière than The Silence of the Lambs or Taxi Driver.

It would, I think, be helpful to consider what you mean when you use critical terms like "artificial" to dismiss works of art. Sometimes this is a valid critique, sometimes not. Most people have a sloppy habit of using such vague adjectives in order to criticize films which they disliked, but in doing so, they are often demonstrating a poor ability to articulate or even understand their criticisms. Most people are bad critics...

And you will know my name is The Lord when I lay my vengeance upon thee!

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I wouldn't say that the rewind is a condemnation of justifiable violence in-itself. Instead, it is a condemnation of our relationship to justifiable violence as spectators. The rewind scene has two significant motivations: the deliberate denial of catharsis, and a condemnation of violence presented as justifiable spectacle.

The point isn't whether or not the violence is justified but whether the thrill we get out of seeing it is justified. The film doesn't let the audience off the hook for enjoying violence (hence the hostile reactions the film occasionally generates in its detractors).


While i find the denial of catharsis interesting, in a kind of experimental sort of way, I find the whole "condemnation of violence presented as justifiable spectacle" a bit repulsive.
What's really wrong in getting a thrill out of justified violence? In this particular case, why can anyone object to our feeling happy when she shoots "Fatty"? Is Haneke really trying to tell us that "all violence is wrong" or some pontificating bs like that?
Saying that it's wrong to feel good when an innocent victim finally manages to get a break and, even if she doesn't manage to save herself and her husband, at least succeeds in crippling a psychopathic duo who terrorize and kill people for the sake of it, is beyond absurd. The implication is that there is no moral difference between Peter & Paul, and the family. No difference between murderer and victim, no difference between guilty and innocent. And also, that even when there was no other way but violence for them to get out of the situation at that point, we still can't justify the use of violence.
Yes, I was glad when she shot him. And, no, there's no deep reflections that have to be done as to why I felt glad about it.

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I don't think your initial response was bad at all. Hell, I felt my heart drop when Paul rewound the scene. But Haneke did that, and the essential question is why did he choose to do so. Haneke knows that the experience of injustice on the audience's part that attends that moment will be so intense, but still he pulls this fast one on us. Consider the alternative: Our heroine manages to kill her captors, we feel relieved and reassured that the bad guys got what was coming to them. The credits roll, and our roller coaster ride is over. This is the typical experience we expect from thrillers, and importantly in this case, any indignation generated over the course of the film is exhausted for the sake of enhancing our cinemtic experience. It does not extend beyond the film. But Haneke has something else, something much more profound, in mind with Funny Games. Here, the killers are successful, and the medium itself enables their triumph--much to the audience's chagrin. Haneke deliberately stirs our indignation by denying catharsis, but the hope is that we will extend our indignation beyond the context of the film. Haneke is not dogmatic at all in his approach--he underlines nothing, never once does he tell us what to think, or present a ham-fisted ethical viewpoint. He just presents a fictional scenario. Nevertheless, our very human sense of justice is activated and becomes indignant, and this effect is spontaneous. With an admirably Hitchcockian understanding of his audience, Haneke cleverly manipulates us with the power of cinema into an intensely real and vivid experience of indignation and anger. We have a real encounter with our own sense of justice and our core human values. Haneke's polemics and didacticism all lead to this point, but what exactly is achieved? With this film Haneke confronts us with brutal violence with no opportunity for tidy resolution, and this is what violence actually is! We hear news reports of horrible violence and unhappy endings every day. We hear these stories, but we do not feel them. They are abstract and distant from our lives, and we are numb to them. I think if this film has any redeeming quality at all, it is that it places us right in the middle of such a tragic scenario unleashed by unspeakable violence, and makes us physically angry about the outcome. This has real world implications. Of course we feel indignant when Paul rewinds the film, we feel cheated, but I think the purpose of this maneuver is that it would be a mistake to release this tension. And furthermore, it would be a mistake to get mad at the director for masterfully generating this response.

In retrospect, I think my initial position in this thread came across as too dogmatic. Perhaps it is true that there is no reason to feel bad about getting a thrill from "justifiable" violence, but the salient question becomes when is violence truly justified. Certainly never for the sake of entertainment. What motivated me to make this thread in the first place was the litany of threads which called the family stupid and strongly implied that the family deserved what they got for not fighting back sufficiently. Who could possibly say something so disgusting? This was terribly disturbing to me, and illustrates an ignorant tendency to blame the victim when bad things happen. So I certainly think that any time a human being is in jeopardy, that alone is a sufficient reason to sympathize with them. But as I mentioned earlier, I think violence should never be greeted with a thrill. When violence is necessary, it is fine to be relieved--but is violence ever thrilling? More importantly, should it be? This is a key question raised by the film. I don't know the answer, but surely such a question deserves to be thought about seriously.


And you will know my name is The Lord when I lay my vengeance upon thee!

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You are right about the breaking of convential rules of filmmaking. And that is exactly what had been critizised by some people. It leaves you with an impression that it just slightly misses what you consider as being needed in an entertaining movie.

I watched it yesterday. And i have spent a lot of thought on this movie at this time. It is ingenious, if you are reflected enough to understand it correctly.

As i wrote, it does not seem to be perfectly entertaining. Once you begin to understand what it wants to show to the audience, you realize, that everything that you felt incomplete in this movie was designed this way intentionally.

These "rules" on what to expect in a movie are made by you as the audience but you never had been aware of that before. Many of these entertainment rules turn out to be unethical if you process them logically. Leaving you alone with what is shown and not fulfilling your subconscious expectations, the movie puts you in direct conflict with your own thoughts. When the movie is not doing like you expected, you have to come up with reasons why your expectations were wrong.

When you can reflect that neutrally, you have to admit to yourself, that it never really were some abstract unwritten rules, but actually it is more comparable to an expectation - or even stronger - a wish you had that appears to be unfulfilled here. Who is the real player in this "funny" game? Who really craves the sensation here to see other people suffer and enjoys it in a sadistical way? Who really would feel somehow betrayed, even disappointed if the torturing and pain ends too quickly here? How would you think in comparison in a real situation like this?

Imagine the movie would be completely different - imagine they just shot the people in the beginning and the rest of the movie would be about them watching TV, eating, then leaving with some stolen goods and thats it. While thinking about that - did you just admit to yourself that watching this movie made you think exactly like one of the psychopaths without realizing it? If this would be real, would you also be the very same person which is thinking: "It is just plainly boring to me if all the thrill ends that quickly and unspectacular. (It is not yet filling up standard movie length ;) ) I want to have some fun, thats the reason i am doing all of this. Show me something that is more fun. Like watching explicit violence, people being tortured, die slowly and suffer really hard."

You are desensitized by watching movies, you just dont realize it. Your expectations regarding a movie are perverted somehow. If you are honest to yourself, you draw your pleasure in movies from the very exact things you would expect just from the sickest psychopaths you could imagine in reality. You do not seem to be as far away from their way of thinking as you always wished to be. All you need to be in a similar state of mind obviously is just a feeling of emotional disconnection of what is happening - a TV screen for example, loss of your sense that it is "real". When you get deprived of the feeling of being connected to reality, your demands on what is necessary to get emotional stimulation and entertainment from it reach extreme levels - you would be completely bored by the same things that would be arousing (not necessarily in a sexual context) in reality.
Just lets suppose, you really were a robber as described in the above scenario, shot 3 people to get rid of the witnesses. (Of course) without any real experiences to compare with, i would assume everyone is conscious of the fact that this situation would not be experienced nearly as emotionally numb and boring as we would perceive a movie of this. You are totally emotionally disconnected from the events on the TV screen. You want to experience something that stirs up your emotions and compared to the reality, in a movie you only can achieve this with reaching emotional extremes.

From what i know on how sociopathy works, this could be a model for the way a serial killer is experiencing the world that is not really far off from real motivations driving a mass murderer. It is his own sick and twisted way to experience emotions he is not able to experience by normal means. This is so far off from our reality and so traumatizing that we tend to completely dissociate from that to be able to deal with it. We are dehumanizing them by calling them "monsters" so that we are not forced to accept them as being similar to us in any way. (Just to make that clear - i do not want to downplay the gravity of their crimes here, i just want to point at basic psychological mechanisms that you might not have recognized as such)


The movie asks you some questions. The answers are unpleasant enough that your subconscious mind seems to protect you by not allowing them to reach your conscious thoughts. You might fear them, they might challenge your social conditioning and the way you perceive your world. And because of that you tend to dissociate from all this by saying "it is just a movie". But this movie is different. It does not give you excuses like other movies. A big part of it is completely running in your mind only. And this part is the really disturbing one, once you start to realize that.

If you are open-minded enough to accept that thought at all. Still, your psychological repression is at work. In its simplest form you might think, the movie is flawed, not a good movie. You just did not enjoy it (should never have enjoyed watching a hostage-taking in the first place if you think of it). Bad script, bad movie. Case closed. Simple. Comfortable. And you dont realize that you are consequently reassuring your self it was just fiction - bad fiction you dont want to see again.

I do not know if you get right what i mean. I can imagine another form of this repressional rationalization, some of you even might think i have some unhealthy tendencies when reading all this. I dont. I am quite sure you experienced the movie the same way i did, maybe you just chose an interpretation for yourself that feels more comfortable than mine. I just would recommend open yourself a bit for these thoughts - that is what the movie actually is aiming at - making your personal access to them easier for you.



*spoiler alert*

I have to add a comment on the stripping scene here. While your explanations and thoughts on this are very interesting and have caused some thinking in me, i still have the feeling you are disregarding a bit of the "dirty" subtleties of this really ingenious scene and what it wants to show the audience in my opinion.

I know i will be running again at risk to be stigmatized by the reader into some kind of imaginative person that will make it easier to deal with what i am writing now. I often realize i have a good ability to think in a very reflected way on what is going on with myself emotionally and cognitively - where others often would have censored their thoughts, cutting out difficult scenes before the mind movie is having its final debut in thoughts.

I will give you the raw, uncut and unrated version of what my personal experience of this scene was like. I would have never thought about it and it would have been subject to censory for me as well - if this movie wouldnt do such a great job in preventing you from doing exactly this.

I saw this scene. They put an empty pillow over the boys head to take his sight. I remember wondering if i would see a raping now. Then they told her to undress.
And retrospectively i wanted to see her naked body at that moment. There was this crushed, humiliated woman. She was desperate, at the border to madness, apathic and her face exactly reflecting the mess her psyche must have been. She did not look like a woman anymore, she looked like a wreck. The sad, hollow shape a human leaves when you crush him mentally.
Still, i wanted to see her body. I even felt a bit disappointed that you did not see anything at all. The she was told to dress up again. What a disappointment following this dramatic buildup of the scene. I dissociated from these thoughts a bit by telling myself basically "Bad movie. They dont even dare to show a naked body." I reminded myself that it was just a movie without noticing why i did it. I shifted it into thoughts about how movies in contrast to reality will not let you see some things to maintain a respectful presentation.

This was confronted hard when you could see her breasts later. Nothing special was happening in this second scene, in safety her husband just told her to change clothes. She wore a transparent bra. She carelessly put on a completely revealing top, here breasts still were visible. And what did i figure out? It was nothing special to me anymore. I looked at it with some unimpressed thought like "Ah, okay. So i got to see it now." While i was really feeling a desire to see it in the other context, but under changed circumstances it was nothing special, no thrill involved at all.

But why is there this difference in how we perceive both scenes? Maybe it is just simply the fact you are deprived of the sensation that made you desire it in the first scene. That would be an easy explanation, comfortable so to say.

The alternative, unpleasant explanation would be different. Unpleasant would be if you think about that the scenes basically also differ in their presentation of humiliation. Your conscious mind is telling you such a setting of torture and humiliation of a woman is the last place to feel any kind of sexual tension. It would be sick, no healthy mind would feel that, only perverted minds of rapists and psychopaths work that way.
Retrospectically i have to see that the whole scene made me expect to witness a raping now. The way it was created by the director directly rubbed into my face that i not only expected to see it, but a part of me also felt disappointed when i did not. Did i actually wish to see a raping here?
The second scene made clear to me i can not simply base it on a desire to see her body. I did, it felt surprisingly unsatisfying then. Why was the first scene more sexually tensed, though it really shouldnt be?

In this scene the way this movie works becomes very obvious. As i said, the nasty parts of it are only shown in your mind. But the presentation makes clear to you, it is not just your thoughts on how you think it will turn out. Rather it disturbs you by pointing out that you secretly wish it to turn out this way - and leaves a strange feeling of disappointment when it doesnt.


That is, why i think the movie is really great. It makes you see yourself in a way you have not seen yourself before. Because you always tried to hide that to feel comfortable with what you are doing there.





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You are desensitized by watching movies, you just dont realize it. Your expectations regarding a movie are perverted somehow. If you are honest to yourself, you draw your pleasure in movies from the very exact things you would expect just from the sickest psychopaths you could imagine in reality. You do not seem to be as far away from their way of thinking as you always wished to be. All you need to be in a similar state of mind obviously is just a feeling of emotional disconnection of what is happening - a TV screen for example, loss of your sense that it is "real". When you get deprived of the feeling of being connected to reality, your demands on what is necessary to get emotional stimulation and entertainment from it reach extreme levels - you would be completely bored by the same things that would be arousing (not necessarily in a sexual context) in reality.
Just lets suppose, you really were a robber as described in the above scenario, shot 3 people to get rid of the witnesses. (Of course) without any real experiences to compare with, i would assume everyone is conscious of the fact that this situation would not be experienced nearly as emotionally numb and boring as we would perceive a movie of this. You are totally emotionally disconnected from the events on the TV screen. You want to experience something that stirs up your emotions and compared to the reality, in a movie you only can achieve this with reaching emotional extremes.


I think it's a bit puerile to talk about being "desensitized" by watching movies, tbh. At least, in this context. We don't derive pleasure from fictional violence because we've become numb to it: We derive pleasure because it is somehow built into our psyche. The fact that you may enjoy, in a way, the doings of a psychopath, doesn't make us "closer than we think" to a psychopath: It makes us plain old neurotics who fantasize on being something we're not. That's the whole idea of it. Movies, and art in general, are a reflection of our fantasies: It is the passage to act what draws the line between us and the psychopath.
You're absolutely right when you say that "when you get deprived of the feeling of being connected to reality" you get an emotional high from the extremes. That's just it: Most of us would not be able to do a lot of what we fantasize about, that's what separates us from psychopaths, because unlike them, in reality we feel the connection, we feel empathy, we feel an emotional link to others.

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Scientific facts can be read here:

http://www.bookrags.com/research/desensitization-and-media-effects-eci-01/


I agree with you on the fact that it can be inherent in the human psyche. I have a diploma in biology btw and i am quite aware, that mankind is closer to the animal kingdom in behaviour than may be comfortable.

If u should speak out of the view of a biologist, we seem to empathize violence when we subconsciously perceive it as protecting the security of the social envoronment we live in.

If you ask me, what that basically is, its just a primal drive to stop genes flowing into the gene pool of our social group, the instinct itself is basically sexual by its nature. There is an subcnscious inherent fear of being stripped of mates and concurrency in terms of sexual reproduction. We humans just tend to rationalize and reformulate the motivations behind with what we call "reasoning".

The most extreme form of this drive is racism. I am german so i learned a lot about the third reich in school and everywhere.

I do not think it is a coincidence, that violence against jews had been justified by said "reasoning" in terms of purifying blood and "reestablishing" territorial claims with a logic of heritance.

In fact this is just roughly translated "The horde we call "aryan" has fear of genes invading their gene pool by foreign genes owned by the horde we call "jews". The "final solution" therefore is: Genocide."


We still are humans though. What does separate us from animals, is that we should be able to use reasoning to look behind what makes us just acting like an animal. Sadly most people dont. Reasoning becomes justification of the right to be an animal.

So it seems reasonable to apply violence to a foreign group of people that threaten our nation, namely the "evil" guys. Because everyone supposes to be the "good" guys, obviously the others have to be confronted violently. Reasoning gives a reason for violence and leads to an unreasonable outcome for mankind: Animals fighting against each others for blood and territory.

Its not a problem of the US, its a problem of the whole world. Everyone thinks of good and evil and totally forgets, that the other side might think exactly the same, just the other way around.

Life is not a movie, there is no hero and no evil guy where the happy end has been achieved when the evil guys finally are dead. Since the beginning of mankind both sides have to lose a lot of people until they realize it may be the best to settle down these thoughts.

Of course politicians know that we are animals. And they know how to use it.

I dont want to claim that violence is bad, if it stays in movies. But it demands, that people at least understand life is not like in a movie (not just believe they do, but act otherwise).

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Hi muellbittehier,

Thanks for the reply and for the link. It's an interesting theory, one should probably see exactly under what conditions those tests were run, how random the selection of the groups was, in sum, all the details on how those studies were carried, to see how trustable the results are. I do agree that humans have a large capacity to adapt, and that things are less shocking or horrifying when we're more exposed to them.
I'm still not too sure about the basic claim that we're really becoming desensitized to violence. I like violent movies, TV shows and books. I like watching crime shows both documentary and fictional. I still cringe at violence and it still makes me incredibly sad when I read/see about the acts of violence people commit against one another.

But basically, I agree with all you say here, so I started wondering why we don't agree on our take on the movie, lol.
There's something here, I think:


If u should speak out of the view of a biologist, we seem to empathize violence when we subconsciously perceive it as protecting the security of the social envoronment we live in.


That, and what you mention afterwards, points to one dimension of violence, which happens to be the type of violence that has maybe caused the more damage in history. That's the root of all wars and major conflicts. Or rather, that's what politicians and world leaders use in order to get consent for the wars they carry for usually more greedy reasons.
And i think it is troubling and fascinating to see how, time after time, people fall into that trap, and how it is our capacity for reasoning which brings out the worse or our animal instincts.

But the movie deals with something that's even more basic: Sheer survival under an extremely stressful situation. These people aren't fighting an "alien other", but simply trying to stay alive in an impossible situation. Denying, or even doubting, their right to try to take back control, and objecting our pleasure in seeing them take back control (when Anna shoots Fatty, for example) is trying to deny our survival instinct, and I think survival instinct is something you just can't mess with, or judge. That's why I think that any attempt to analyze this in the context of how desensitized we are to violence is pointless. If what Haneke was trying to do when rewinding that scene was to tell us that we're wrong in applauding Anna's violence, i think he's off the mark. She's trying to survive, empathizing with her is only natural, regardless of whether you've seen a million violent movies or none.

[quote}I dont want to claim that violence is bad, if it stays in movies. But it demands, that people at least understand life is not like in a movie (not just believe they do, but act otherwise).[/quote]

I agree. But I don't think it's movies' fault if people don't understand the difference between fiction and reality. :)

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Just in addition, how Haneke himself thinks about the movie:

http://www.youtube.com/watch?v=U5lbMdAuRoQ

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I agree. But I don't think it's movies' fault if people don't understand the difference between fiction and reality. :)


As I understand the movie its more like an artists hint at how subtle our perception of violence is shaped in movies. I think it should show to us, how desensitized we already became in terms of movie violence and how we actually began to assume there are certain rules to follow in a movie about crime and/or violence that contradict our "public opinion" in some aspects.

you are completely right about that its not the fault of the movies.

But I really think this is one point here Haneke got, and i am afraid he is more right with judging media violence than feels comfortable.


The most you will experience in terms of violence today is fictional, it is in movies. Violence is committed as a mean to achieve justice by heroes - thats a movie plot.

A real plot in the past is:

Once upon a time a dictator built up a horrible regime which commited awful crimes against humanity. After winning a devastating war, the opposing american government decided NOT to be the same, but to be a better example by granting these crimininals an ordinary court in Nurnberg where they had the chance to defend their deeds in front of a jury. Some where sentenced to death, others received minor sentences depending on the gravity of their deeds. This was a great achievement of humanity.

Another real plot in more recent time is:

A kind of dictator managed to influence some people into committing terroristic attacks in the US. For a long time he was hidden. But then, some heroes of the Navy Seals finally found him in some hole in Afghanistan. They killed him immediately, it is questionable if he tried to defend himself or was just basically shot immediately. People cheered as this and the president who ordered this was watching a live broadcasting of the execution while it happened. He is considered to be a national hero for doing that.


So as you see, something has changed in recent times and i dont think its for the better. You cant plainly say, its the medias fault and the way how violence is shown today. But i think it is obvious that it is has become easier to sell this positively in public when the average image people have of violence is a guy wielding guns to shoot bad guys.

I think you`ll get my point...

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Scientific facts can be read here:

http://www.bookrags.com/research/desensitization-and-media-effects-eci-01/


I agree with you on the fact that it can be inherent in the human psyche. I have a diploma in biology btw and i am quite aware, that mankind is closer to the animal kingdom in behaviour than may be comfortable.

If I should speak out of the view of a biologist, we seem to empathize violence when we subconsciously perceive it as protecting the security of the social environment we live in.

If you ask me, what that basically is, its just a primal drive to stop genes flowing into the gene pool of our social group, the instinct itself is basically sexual by its nature. There is an subconscious inherent fear of being stripped of mates and rivalry in terms of sexual reproduction. We humans just tend to rationalize and reformulate the motivations behind with what we call "reasoning".

The most extreme form of this drive is racism. I am german so i learned a lot about the third reich in school and everywhere.

I do not think it is a coincidence, that violence against jews had been justified by said "reasoning" in terms of purifying blood and "reestablishing" territorial claims with a logic of heritance.

In fact this is just roughly translated "The horde we call "aryan" has fear of genes invading their gene pool by foreign genes owned by the horde we call "jews". The "final solution" therefore is: Genocide."


We still are humans though. What does separate us from animals, is that we should be able to use reasoning to look behind what makes us just acting like an animal. Sadly most people dont. Reasoning becomes justification of the right to be an animal.

So it seems reasonable to apply violence to a foreign group of people that threaten our nation, namely the "evil" guys. Because everyone supposes to be the "good" guys, obviously the others have to be confronted violently. Reasoning gives a reason for violence and leads to an unreasonable outcome for mankind: Animals fighting against each others for blood and territory.

Its not a problem of the US, its a problem of the whole world. Everyone thinks of good and evil and totally forgets, that the other side might think exactly the same, just the other way around.

Life is not a movie, there is no hero and no evil guy where the happy end has been achieved when the evil guys finally are dead. Since the beginning of mankind both sides had to lose a lot of people until they realize it may be the best to settle down these thoughts. But of course each war is different, this time there is a real problem.

Of course politicians know that we still are animals. And they know how to use it.

I dont want to claim that violence is bad, if it stays in movies. But it demands, that people at least understand life is not like in a movie (not just believe they do, but acting different in real life). I totally understand, that it is too optimistic to hope this will change globally at some point in time.

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"Its not a problem of the US, its a problem of the whole world. Everyone thinks of good and evil and totally forgets, that the other side might think exactly the same, just the other way around."

With that in mind also, what do you think of action movies and fairy-tales where for the most part, it is good and innocent people fighting bad and evil guys and winning, and then there being a happy ending and everyone is happy? And is it a surprise that real life doesn't work this way?

Also, a lot of what you said can be perhaps attributed to ignorance and stupidity in humanity, or is it not all that simple?

And politicians often start wars that affect and even kill millions of innocents in the process. And do they really KNOW we are animals and act on it, or just don't know or care and don't know better?

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"Everyone thinks of good and evil and totally forgets, that the other side might think exactly the same, just the other way around."

And what if we DO remember it but we just don't AGREE to it and think their opinions hold VALUES here?

BESIDES, in CERTAIN cases, where you say have people who want to violate us or kill us and we haven't done anything to them, why should it even remotely matter what THEY think and why can't we see ourselves as the good here? To name one example of such a scenario?

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Although the complexity here lies more with global and mass scale conflicts like wars and invasions of certain, and often even sovereign, countries and nations rather than local and basic ones however serious here.

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2 muellbittehier- my my my, you sure DO seem to know a hell of a LOT in here about, well, like the main gritty truths of human nature, and even more than that, you don't seem to separate people into good and bad alone based on their deeds like that and you seem to realize the world is complex and complicated too and never simply "good and bad people, good guys fighting bad guys etc" and happy endings full stop.

You even had to go out of your way to comment on one stripping scene and start to controversially debate about not even a few but like the basic general wanting, and for personal perverse reasons, to see sexual violence like that leaving nothing to hide and writing long texts even with statistical evidence.

And I notice you don't seem personally that bothered or surprised by it all, and it seems like, you also feel like THIS movie is trying to say something MORE complex than on its surface and in terms of what the director intended with regards to making a comment on "violence and the media" and you also feel that this movie is aware of it all but you know obviously more about those things and not from movies.

ALSO, FINAL QUESTION. EVEN WITH STATISTICAL AND SCIENTIFIC FACTS, on "desensitization" or otherwise... With GENERAL people and audiences - Does it really matter MUCH? Can we not just watch, appreciate and admire (if not "enjoy") the cinematic experience whilst remaining our NORMAL SELVES, and even if WE DO crave violence or, according to your facts, "perversely crave" sexual violence etc (by the way, "A Clockwork Orange" (1971) for instance DID show those things that this movie "hinted at" - BUT, I was NOT "turned on" or "perversely personally craving it at all", from a distance, I saw it, even if in more intimate and extreme ways, and DIFFERENT too, as that of OTHER FORMS OF VIOLENCE that was ALSO DEPICTED IN THAT MOVIE including murder and physical beatings etc), does it really matter overall or even a little bit THAT strongly and matter much, or i

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or is it just a MOVIE even if MORE serious than standard say entertainment fare like violent action and horror and thriller movies and we should see it and treat it as such, obvious wrongs etc known and notwithstanding? Cheers. (And "A Clockwork Orange" (1971) also had similar themes explored and was also an influence on this movie even though HANEKE ALSO criticized and didn't like that movie much.)

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Or do you Mr Mueller think we should panic and worry or just really THINK about it all including films we watch and what, even in adult ages, they may be, if at all, "doing to us"? Etc? :) Inquiring minds mildly and curiously want to know. :)

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"I totally understand, that it is too optimistic to hope this will change globally at some point in time."

Realistically, it will only "change" when HUMAN NATURE changes completely, which may involve special EVOLUTION that would allow to eradicate the many massive human flaws including that of sociopathy and psychopathy and generally "lesser" ones like greed, stupidity, desire for power via abuse, ignorance etc and maybe realizing on top that it is as pleasant and preferable for us as it is necessary including for our basic survival and existence.

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Also, worth mentioning, and I'm a bit of a sensitive and impressionable guy so I kind of know...

Some of us have CONSCIENCE over these matters, and we even remember, and often vividly, us being told off by folks who do have morality and even strong ways of expressing as such, and these people by the way often did have compassion for innocent victims and strongly despised guilty perpetrators in some or other areas.

For them desensitization like that wasn't an issue. But they also had different interests in life than violent films of various varieties here and there.

So with that in mind, of course I am generally on the positive side of things because of upbringing and influence from experienced and serious in general moral relatives.

And I come from Russia too if that's any indication generally.

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I'll be honest, I hated this movie. But I appreciate it artistically as it did something different. My problem is that this was a movie experience, rather than just watching a movie, not to say that my mind is on a hamster wheel when I watch movies, even horror movies. Simply put, if I want a film experience, I'd rather view 2001 than this. I felt "dirty" while sitting through this film. It was morbid, uncomfortable, and unsatisfying. Yes, I had a strong desire to see the villains punished; yes, I wanted someone in the family to survive. I remember feeling a lot of anger after watching this movie because I understood the point of it. However, I enjoy watching horror movies, I don't crave the violence, but I like being scared, and unraveling a movie as I go through it.

I spent the entire movie wondering why the young men were doing what they were doing, then it came together for me with the 4th wall references and the discussion at the end of the film. I still wasn't satisfied with it. The film's genius certainly comes at a price.

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Was that the first time you saw the film? I remember the very first time I saw Funny Games, I felt sick afterwards. It is very harrowing experience, for sure. It didn't help that I was probably 11, and caught the movie late night on IFC

But it is definitely a film that rewards multiple viewings. In spite of appearances to the contrary, its sensibility is deeply humanist. I think the comparison with 2001 certainly isn't favorable at first glance, but that is only because the overall thematic concerns are so dissimilar. The raw cinematic effectiveness of both films in achieving their respective artistic ambitions is similar though the strategy differs. And interestingly, I would argue that the moral ambiguity and complexity encountered during Dave's confrontation with HAL in 2001 is similar to the overall strategy of Funny Games.

And you will know my name is The Lord when I lay my vengeance upon thee!

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I have to admit, I've seen this and its shot-by-shot English remake more than once. I got it the first time I saw it. They do what they do because they can. And the movie is meant to deplore cinematic violence because it shouldn't be entertainment. I think I was hoping to appreciate it more artistically. But that didn't happen.

My 2001 reference isn't so much a comparison to the movie directly as much as it is to its intent. Funny Games is an experience. 2001 is an experience. But you make a good point about the HAL confrontation.

Ironically, I wish more films were treated artistically; however, not all art is "good." But I doubt Haneke made this film seeking acclaim. I'm sure simply knowing that conversations such as this are taking place is much more what his aim was.

Still, I love horror movies, and always will. Not because I'm the jackass screaming for the cast to be killed off, but because I want to be scared. It's my "guilty" pleasure.

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I'm a big fan of horror movies as well. No reason to feel guilty about it!

Regarding the remake, I think it lacks the immediacy and authenticity which makes the original such an uncompromising experience. It felt very stagy, whereas the original feels like you're right in the middle of the action. Furthermore, the tensions of class and nationality--which are such key subtexts of the European version--fall flat in an American context. In the original, the family was middle class (and German, vacationing in Austria, if I remember correctly) whereas their tormentors where definitely upper class. This was a subtle but significant subversion of genre cliches: the bad guys were wealthy and the good guys were foreign "intruders". That irony is lost in the translation. Still, I tend to enjoy shot-by-shot remakes as a technical curiosity. I even enjoyed the bizarre Psycho remake!

And I understood your point about 2001. Anyway, the only reason I asked if it was the first time you've seen this movie was because people who dislike the film often seem to miss some cheeky bits of irony and other tiny details which can make the film more rewarding upon rewatch. For a director so frequently accused of being humorless, Haneke has a scathing sense of irony. The moment where Arno Frisch is daintily preparing a sandwich as we hear a fatal gunshot from the other room is a surreal juxtaposition of tone worthy of Bunuel. Inappropriately humorous and unspeakably devastating, all at once; and all the more disturbing for that reason. I think this distinctly playful and disorienting mix of comedy and tragedy is part of the reason people dislike the film so strongly. An easy moral point-of-view is consistently frustrated and undermined. As a consequence, it can be very difficult to understand what to make of the experience. But this is exactly why I think the movie is a brilliant masterpiece on Haneke's part.

And you will know my name is The Lord when I lay my vengeance upon thee!

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Why do you call this a horror movie? So many posters here have, but it is a thriller. The horror genre requires a supernatural element. Funny Games is not a horror movie.

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According to whom does the horror genre require a supernatural element? By that definition, The Silence of the Lambs is not a horror movie. Texas Chainsaw Massacre is not a horror movie. The original Friday the 13th is not a horror movie. According to that definition, serial killer and slasher films are not horror films unless the killer is supernatural (as in Halloween). According to Wikipedia: "Horror is a film genre seeking to elicit a negative emotional reaction from viewers by playing on the audience's primal fears. Inspired by literature from authors like Edgar Allan Poe, Bram Stoker, and Mary Shelley, horror films have existed for more than a century." There's nothing there suggesting the film must have a supernatural element.

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According to whom does the horror genre require a supernatural element?


According to you, apparently:

Inspired by literature from authors like Edgar Allan Poe, Bram Stoker, and Mary Shelley


These authors are all singularly famous for the supernatural elements of their writing.

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Premature burial and distorted perceptions of reality from an imbalanced mind were prevalent in Poe's canon, neither of which are supernatural. Poe is also credited with inspiring detective fiction. Even The Tell-Tale Heart, one of his most famous works, contains no supernatural element.

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OK. I just read a later post where you describe the movie as a thriller. I realize now you have been indulging posters who have described it as a horror movie (I hope).

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Yeah, I'd say this film is a thriller--and an excellent one. I personally wouldn't characterize it as a horror film, but I wouldn't quibble with anyone else classifying it as one either. I personally think of it as a dark comedy in many respects. It certainly has some horror elements, but it's more sophisticated, polished, and psychological-oriented than your typical slasher. Genre classifications are pretty arbitrary, really. In any case, it has a distinctly Hitchcockian flavor--though less accommodating and easily digestible than any of Hitch's "slices of cake."

When I started articulating my thoughts on this movie, I firmly insisted that Funny Games is an exercise in moralism and ideological gymnastics that mocked the audience for expecting a horror film, as it seems to deliberately frustrate many horror film conventions. And that's why, I suggested, it's a masterpiece... A weak presentation, in retrospect, but that was a pretty standard critical reading the film--that it's a gimmicky critique of media violence that seeks to punish the audience in a clever, high-concept sort of way. How stupid and hypocritical would that be?! If I had been right, what that would have meant is that the better and more effective the film, the more people would feel made to feel stupid by it... As if a person's dislike of the film confirmed its success in a weird, too clever, self-exonerating sort of way. Very smug and obnoxious, I now realize. I've adjusted my thoughts on the matter quite significantly over the course of this thread. By insisting that punishing people for their questionable cinematic tastes was Haneke's primary objective, my initial position rightly annoyed a lot of reasonable people, and probably turned them off the movie rather than demonstrating why it's a great film after all. After I thought about it some more, I realized that I had made a very poor case for this excellent film, that it's much deeper (and better) than my dogmatic position had suggested. When I mentioned that I'm a fan of horror movies, I was just emphasizing that Haneke's objectives with Funny Games went beyond providing an occasion for pretentious finger-wagging at horror films and demonstrating to a hapless audience why their taste in movies is sh!t. There's no reason a fan of horror should feel like the intended target of Haneke's cinematic strategies--either in this particular film or elsewhere in his body of work.

I did end up going all over the map while discussing this film. It's exhausting to go back and try to re-read my jumbled line of thinking. Very hard to follow. Sorry for the confusion.

And you will know my name is The Lord when I lay my vengeance upon thee!

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There is no overriding ethos in this movie beyond "Thou shalt screw with the audience!" The knife that gets dropped in the boat is a good example. The plate shots have their classical music "family games" backdrop turn disturbingly into a heavy metal soundtrack entirely divorced from the smiling faces in the car, and they prefigure everything in the movie. You could stop the movie after the opening titles and not lose anything essential to its purpose, including its title. By the time the opening credits have rolled, all has been revealed. Everything subsequent is but a variation on a theme already established by the unexpected blaring of heavy metal over the backdrop of happy family faces. The director is playing with us, he is playing funny games. It is, in the end, just a dark lark. And then Haneke can sit back and relax while watching everyone's deeply intellectual analysis of his funny games. Genius.

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