蒙古的圣女贞德 (1989)

　　1989西德剧情喜剧片《蒙古的圣女贞德》由乌尔里克·奥廷格导演，巴德玛主演，影片讲述的是：
Synopsis
A group of cosmopolitan women passengers aboard the TransSiberianMongolian Railway are taken prisoner by Ulan Iga a warrior princess The rigors of the harsh desert landscape in summer test the prisoners endurance unlike Princess Ulan and her tribe who are united with the physical environment by tradition and necessity
Ottinger about her Film
This is a film about different kinds of narration In my films there is never a singular plot Nevertheless there is a story The first part of the film is a trip through history on the TransSiberian Railroad a grand old train on which people traveled from East to West and West to East for over a hundred years I was fascinated by the story of this train I found it a wonderful place to bring together people of all types I focused here on four very different female characters who represent stories from different epochs There is the elegant Lady Windermere who is an amateur ethnologist from late nineteenth century She is what was called a private scientist a rich person devoted to a singular obsession of study as in old English novels Lady Windermere was inspired by the Victorian trends of this time and highly influenced by all the experiences in the colonies of the British Empire to study the culture of Mongolian nomads She is seen traveling in a salon wagon her own sumptuous private train car This signifies that she is from the time when the diplomatic corps princes and kings traveled on the TransSiberian Railroad as in a luxurious hotel Then there is a beautiful young girl Giovanni later called Johanna who is from our contemporary times today She is an adventurer traveling with a knapsack and a Walkman At first she is in the third class carriage with soldiers and peasants who travel with their animals Then she is invited to join Lady Windmere at her dinner table and in her private car There is a German professor Frau MullerVohwinkel who travels with a Baedeker the famous travel guide that she reads carefully so that everything she sees has already been interpreted And there is Fanny Ziegfield a musical star from the nineteen thirties or forties of the great music halls They are all on the train traveling in a linear path from West to East Most of the travelers plan to go through Mongolia on the way to other destinations Only Lady Windemere intends to remain in Mongolia to continue her enthnographic studies In addition to these characters there is also a three woman entertainment troupe the Kalinka Sisters They are like a traveling Yiddish version of the Andrew Sisters There is also a male character Mickey Katz who is a Yiddish tenor enroute to Harbin China to meet up with its large Jewish community While on the train he joins the other singers in presenting wonderful songs from music halls of the thirties and forties like those from New Yorks old Second Avenue
The film is divided into three sections In the first and last parts of the film the action is on the train These scenes were all shot in meticulously constructed sets made in the studio even the glimpses of the passing outside landscape as seen through the windows I wanted the audience to truly see the artificiality of that construction So you catch a glimpse of a rip in the back wall of Lady Windemeres private car But the rip is really a trompe loeil painting made by theatrical set painters It signals this as an intentionally highly artificial presentation of the Western world
In contrast the central section of the film when the train reaches Mongolia was all shot on site in the natural landscape Here the train is stopped and the women travelers are kidnapped by a band of Mongolian tribeswomen led by Princess Ulun Iga who take them from the train to their seasonal encampment Everything changes In this nomadic landscape there is no linear path to follow This goes also for the dramaturgy The slow epic time of the Mongolians begins with fairy tales rhapsodic narration and wonderful epopeesthe old traditional songs in which they tell their whole history It is an old dramaturgy as in Shakespearevery simple a skeleton that you fill with anything you wish Like an epic this is a space for the actualities daily life religious rituals and so on of this largely female nomadic Mongol community As relationships develop we see various cultural confrontations between nomadic and settled cultures between fiction and documentary between the period costumes of the Europeans and the lavish traditional dress of the Princess and her retinue
When I begin a new film the inspiration content and style of the film comes from the place in which I start Here it is Mongolia I always like to change the point of view to go around a theme looking at it from various perspectives and different points of view This makes things more complex and a bit more difficult in a world where cinema is expected to be simply entertainment Of course I am not interested in this Johanne d Arc is an amusing film But it is amusing on another level It is a film about cultural misunderstandings which can be quite funny I have traveled a lot in other countries and learned a great deal about misunderstandings that I found highly interesting It is important for me to talk about that
The Critics
The whole film is a twin structure cut through by doubles repetitions similarities and endless reflections The images have a crease established by the stories In this way the Mongolian world casts a reflecting light on western customs and habits and cinema recommends itself as the instrument of investigation and the agent of old and new myths Frieda Grafe Suddeutsche Zeitung April 3rd1989
JOHANNA represents the fanciful attempt of a unique German filmmaker to explore the way extremely different cultures migrate and influence each other The theme of the wandereroutsider carrier of diverse ideas runs through all of Ulrike Ottingers strikingly original films Judy Stone San Francisco Chronicle