From Simon Rothöhler
. No classic Biopic: Olivier Assayas' rip-roaring action film history "Carlos" mapped an age of global networked terrorism. Right in the middle Carlos as head of a medium-sized business globalized terror cell with full order books.film / media / culture taken.
February 1978, a conspiratorial meeting in Baghdad. Heavy iron gates open, escorted limousine drive up. Bright sunlight and flying sand dust. Men in suits surrounded by men in uniforms. In a darkened hall with lavish furniture awaits the of international terrorism during the last meeting participants, the crucial haute. He enters the room, blocked off with a brief gesture all the greetings, begins to speak in Russian and praises, accompanied by whispers of discrete polyglot interpreters out a bounty on Egyptian President Muhammed Anwar al-Sadat, on 20 was November 1977 in the Knesset held directly as a historically perceived peace speech.
Ilich Ramirez Sanchez, alias Carlos (Edgar Ramirez)
lands in Beirut In the five and a half-hour version of Olivier Assayas 'terrorist saga "Carlos" is the legendary head of the KGB and later Soviet President Yuri Vladimirovich Andropov person who the attending underground professionals, intelligence officials and military officers that open as
tender
formulated contract murder brings to the attention. The scene is a little speculative climax in a film by genre alone his historiographically relatively safe moments always embodied in concrete situations, dialogue, exchange views and thus translate: fake needs. Who was where and when present, including what to whom has 
? As one pours a globally networked subsystem of revolutionary terror and secret service ordered in an intelligible Plotgefüge? exposed especially the cinematic form of dramatic casually einmontierten encounter between Carlos and Andropov them. The guided by
Yorick Le Saux
and Denis Lenoir camera encircles the conspiratorial round with by opposing horizontal pivotal movements in addition liquefied ride, the audience shows from without, when completed, only inside communicating (counter-) circles of power . The dominant temporal mode of the film, the irresistibly propulsive in-actu-dynamics, retarded in this complex sequence, and is suddenly resolved into a retrospective look that makes a wish knot in the rampant terrorist rhizome of the 70s. Only one share in this film so many notorious player in the bipolar world order - from Andropov to Carlos and the PFLP leader Wadie Haddad up to Saddam Hussein and Gaddafi's probably military - physically the same room.
Magdalena Kopp (Nora forest sites), Carlos (Edgar Ramirez), Christa Margot Frohlich (Jule Bowe) predominantly of breath, falls in fast moving sections, abrupt local, language and context switching Carlos forward, a linear, by economic faded text panels organized, yet layered simultaneity of diverse smorgasbord of events, actions, gestures, dialogues. made a dramatic point of a violent interaction between moments in world history as the OPEC raid 1975 in Vienna (an almost feature film long
action fillet
, an elegant, rapid application video for the real action-budget Hollywood) and the ground phase of preparing and waiting on the one hand, between the trailing media and visual memory-less prototypical painting of backstage scenes on the other. 
"Carlos" is not a traditional biopic, but a detailed knowledge of Wikipedia-edge full movie one would virtually stop every minute to look up something (How was that again with Sadat? was not killed by Islamic fundamentalists?). Without pause button Assayas bursts through an era of terror in the mid-70s and begins with the turning point of 1989, the lose their underlying geopolitical matrix. Carlos Assayas is less a psychological aufzuschlüsselndes subject, as a prism, which breaks this era and into today reflected. In a retrospective and hardly manageable network of politically motivated violence Carlos, the post-ideological mercenaries without a cause, a hyperactive
Celebrity networker
who received over the years, joint ventures with all possible partners, from the ideologically compliant Revolutionary Cells (RZ) to temporarily in The Hague and Tel Aviv bomb border Japanese Red Army by the Stasi to the services, based in Tripoli, Damascus, Bucharest, etc. With Carlos means to go through this period to take the perspective of an internationalist Entrepreneurs, anticipates a flexible
capitalist of terror
, the violent political conjunctures and every bull market over, rides to the case of the Berlin Wall, the cards redistributed. Behind the Marxist-revolutionary rhetoric conceals an arms dealer with Dandy-attitude, leader of a medium-sized business globalized terror cell with
full order books and bank accounts around the world. Carlos (Edgar Ramirez) in young and later years "Carlos" is as radical as some political films before him a film of action. A functionalist film without psychological depth, an action film that captures his actors in Plotketten fast, they hardly can be in the conventional sense of character. The aesthetically smart anti-psychologism of Soderbergh's "Che"
Assayas is alien to, it is not about the deconstruction of a global Media icon, or "the people" behind the pop culture also circulated widely picture, but the global nature of the facts
02/2009, in the Hall during the shoot was the OPEC-sequence). And yet there is a massive, phallic body in the center of the film, a body whose virile force potential Assayas emblematic of the machismo-handle on your own penis is reduced, which is shown once and suddenly in a close-up, ostensibly at the Carlos the head is cut off. As an intellectually castrated man who always to enjoy themselves, Ilich Ramirez Sanchez, appears not only in the Girls & Guns scenes, although the Venezuelan
Edgar Ramirez Carlos
its many nuances, tone of voice and body is changing. An actor who performs the miracle, a task shared by Robert De Niro and Marlon Brando in the "Godfather" trilogy, to accomplish alone. Ramirez is the terrorist king not only two bodies - a young, agile, cat-like and old, fat, schwabbelbrüstig and to immobile on the varicose veins in the scrotum become - but also plays famously, the transitions: at the flashes of past power, memory the young body in the old.
Gabriele Kröcher-Tiedemann aka Nada (Julia Hummer)
Ramirez is all in the shade, which also affects the German mainly of young actors / actresses / s existing international cast. It is the conceptual system of almost pure action film due - the Carlos until his depravity in Sudan in the early 90s as a permanent water heater and motion amplifier stages - that there is virtually no biopic-typical actor-scenes "are - and virtually no possibility of a to give minor figure, a contour beyond its mere Ausagierens. According little room remains for even such
Alexander Scheer
that the closest Carlos staff 
(RZ) bit strange irony, is a (too easy) slapstick body (or sees only a spectator, who remembers Scheers Slacker performances in Castorf productions ?) and Nora forest sites (as Carlos' mistress Magdalena Kopp ), which looks always a little too hard lascivious and go through each event, never as a new Ulmerin would (at all: where are the dialects of Tarantino's "Inglourious Basterds" had the linguistic regionalism known with comparable personnel nor take full). An exception to this is perhaps the most serene performance by Christoph
Bach, who has done on it but not the child workers vernuschelte Hessisch
by Hans-Joachim Klein
, but it must be formulated in crystal clear High German is the key political reflections from the perspective of the German left-wing terrorism. Hans-Joachim Klein (Christoph Bach), Brigitte Kuhlmann (Katharina Schüttler), Wilfried Böse (Alyosha Stadelmann) About the dropout figure Hans-Joachim Klein aka "small-small", aka " Angie ", the first with Joschka Fischer in Frankfurt police" cleaned "and Sartre chauffeured to stem home, then the OPEC raid nearly lost his life, his weapon, including the 1977 terror confessions sent to the Roman correspondent of mirror and eventually endorsed by Daniel Cohn-Bendit and Regis Debray was submerged in Normandy, discussed "Carlos" explicitly masquerading as anti-imperialism
anti-Semitism of the Left
- for obvious reasons, especially in view of the in this respect particularly striking RZ-chief 
("Bonus"), who was meanwhile seen even in Simon Wiesenthal a Zionist enemy of world peace and was planning to assassinate the Nazi persecutors. Assayas and his co-screenwriter Dan Franck could investigate this problem more complex facet and when the dodgy lawyer Jacques Verges
(see also Barbet Schroeder's "L'avocat de la terreur", 2007), which not only Magdalena Kopp, but also defended Klaus Barbie before French courts, clearly with Francois Genoud have been linked. The Swiss Altnazi Genoud became after 89 than even the Syrians wanted to do business with the CIA and Carlos hardly reliable contacts remained the late financier the homeless group. At least one significant scene that Kopp later told the journalist Oliver Schröm (a reading recommendation on the subject. "In the Shadow of the Jackal Carlos and the pioneer of international Terrorism , Ch Links Verlag, 2002), can be Assayas go through their fingers: was 1990, Kopp not too bad, Genoud to chauffeuring
Adolf Eichmann
once key staff Alois Brunner , the unchallenged in the Arab quarter of Damascus lived. The paths were short, the connections so neighborly real, that the anti-Semitic continuities are about to see beyond the carried out by evil "selection" of Jewish passengers on the Landshut hijacking in Mogadishu little. Hans- Joachim Klein (Christoph Bach) The fact that the terrorist as the geopolitical cartography This era Israel and the Middle East conflict turn, is clearly in "Carlos" nevertheless, as never before. Every political position in the space of terror is geared to the question of Palestine, with its answer, the world is divided into two camps, making any other ideological point of unlikely alliances to stable cooperation. The friends of Israel are the enemies of the Carlos group, the enemies of the Jewish state seeking the service of terror exporters. This schematic defines the logic of action of the group, which is the only political boundary, which is exceeded with the apparent chaos of changing coalitions never arbitrary. place along this line the diagnosis of the times pointed emphasis of the "Carlos" project: the bridge between two ages
of terror that seems to separate at first glance much ideologically. For both, the Western media have probably out of sheer image defect two paradigmatic Super terrorists created, released their icons quickly began to circulate of their actions: the political in London exile communities socialized Bonvivant Carlos follows the Islamic ascetic 
. Assayas waived at the end of the third part, as the ad hoc Carlos convert to Islam, only the Sudan remains as a retreat, widespread speculation on whether the two men met there may (Although they probably should not have frequented the same pool parties).
Carlos (Edgar Ramirez) and Khalid (Rodney El-Haddad) during an attack on the OPEC Conference
is assured as that Islamic religious leaders Turabi , the Carlos in Assayas' film is the entrée to Sudan prepares, has his son Osama Bin Laden made known in early 1994 with the Egyptian Ayman al Zawahiri . A new organization called Al Qaeda was the product of this momentous encounter: Bin Laden had capital and Afghanistan after his expedition with too much time, Zawahiri had a radical project and terrorist experience.
When the Sudanese intelligence service on 14 August 1994 used with Carlos' 
varicocele operation an almost absurd symbolic moment of his impotence, for delivery to the French colleagues, he gave Bin Laden and Zawahiri in any case, time and conspiratorial spaces. The terror of the future could evolve in relative peace. An important initial impetus was already back more than a decade. It was a splinter group of surface-Zawahiri's organization Islamist Jihad, the Carlos on 6 October 1981 to those lucrative job, brought the Andropov - according to Assayas / Franck - was awarded to the international terrorist scene once. The assassination
to Sadat
appears in this narrative as a signal of a new type of international terrorism, a terrorism 2. 0 , the dominant player in the blind spot of the results of the 70's and 80's and little more than the secret service subsidized business model will be rationalized, but strikes motivated purely fundamentalist. "Carlos", also the film shows, conversely, appears in retrospect as relatively controllable, because he was
sale
and his "soldiers" not sleeping martyr. Johannes Weinrich (Alexander Scheer), Magdalena Kopp (Nora forest sites) Another Climax in the work of over the decades all genres facing with the same intensity French director can be "Carlos" auteuristisch lane because Assayas all his instincts as a filmmaker, his sense of rhythm, effectively placed pop music, fast cuts, fluid film Facilities and gifted performances like those of Edgar Ramirez at the service provides an accurate reconstruction. It is breathtaking how Assayas fails when fully phased highly driven cinematic dynamics historiographical paths in the historical-political space of the 70s and 80s. This fully engorged with meticulously researched and detailed knowledge wisely speculated Action Plotkette you should also not be an antidote to all thematically similar, public docu-fiction films and amphibians
missed. Whenever possible, in the five and a half hour long version 
: From this story, which touches our presence in more ways than one, there can be no real summary.
"Carlos - The Jackal" - Director: Olivier Assayas - Starring: Edgar Ramirez, Nora forest sites, Alexander Scheer, Christoph Bach, Julia Hummer, Alyosha Stadelmann, Jule Bowe - France / Germany 2010 - Length: 187 min . - Start: 4 . November 2010 The long version will probably be seen only in selected cinemas.
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