The rotten-toothed, sweaty antihero — whose glasses magnify his eyes to a cartoonish degree — is portrayed as a buffoon until the moments when, again and again, he suddenly snaps and starts hitting women.
The movie, directed by Fatih Akin, ups the ante for grossness. It opens with a long, unblinking take of its sociopathic protagonist stripping the body of a bloated old prostitute and (after the help of some liquid courage) sawing her head off with the wild-eyed clumsiness of a chronic drinker. The All-Time Greatest Films Directed by Women. But that doesn’t pan out. He’s just a sallow demon who was destined to be this way.
Clearly, artistic choices were made by him (and/or Strunk) in altering history, so the idea that “The Golden Glove” is some sort of groundbreaking example of “the way it really is” kind of falls apart. While that brutality is mostly out of frame, it is a clear gauntlet being thrown by Akin in the film’s prologue. Honka takes women home from The Golden Glove and they never return, and no one seems to notice. Fatih Akin’s controversial “The Golden Glove” is a bleak, depressing attempt to remove all glorification or justification from the serial killer subgenre.
Once you realize that Akin is going to hold nothing back, “The Golden Glove” becomes an artless, flat affair. It’s hard to fathom at the time, but this will be the most pleasant sequence of this godforsaken story. Copyright © 2020 Penske Business Media, LLC. Sign up for our Email Newsletters here.
And Akin and the film’s fans are kidding themselves if they think the lack of sensationalism isn’t a style choice in and of itself. When you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission. This is going to be ugly and nauseating.
You can almost smell him. New Movies: Release Calendar for October 30, Plus Where to Watch the Latest Films, 'Madre' Review: A Mother's Unraveling Sparks an Elusive Connection in This Powerful Drama. With all of the artifice stripped away from the true story of Franz Honka, we are left with the nihilistic brutality of a monster, although even this starts to feel like a form of stylized provocation. Disfigured beneath pounds of hideous prosthetics, the handsome 23-year-old actor transforms into a drunken brute twice his age. ‘Soul’ Aims for Oscar Glory as Disney Shifts to Streaming, but Not All Films Deserve the Same Release, How Closed Theaters, Drive-In Movies, and Netflix Supremacy Are Shaping Oscar Season, ‘Chicago 7’ Vs. the World: How Aaron Sorkin’s Awards-Friendly Epic Jolted a Strange Awards Season, Introducing ‘Deep Dive’: Damon Lindelof and His Team Go Behind the Scenes of ‘Watchmen’, ‘Succession’: How Editing Helps Every Dinner Scene Come to Life — Deep Dive, Becoming Hooded Justice: The ‘Watchmen’ Craft Team Analyzes the Emotional, Pivotal Scene – Deep Dive, 40 Must-See New Movies to See This Fall Season, The Fate of Movie Theaters Could Hinge on the Outcome of the Election, Zoe Lister-Jones Shook Up Hollywood with Her All-Female Crew, Now She’s Doing It with ‘The Craft: Legacy’.
It’s a film about the depravity that can infect a country in the wake of a lost war, told with the clarity of a clogged toilet; a film informed by the radicality of Rainer Werner Fassbinder and the artfulness of Uwe Boll; a film that contrasts the visceral grotesquery of “Se7en” with the psychological depth of Kevin Spacey’s “Let Me Be Frank” video. For Fatih Akin, the director of “The Golden Glove,” the solution seems to have been making his movie as vomitous as possible. There’s more to admire here in terms of filmmaking skill than the movie's incredibly harsh critics had me believing after Berlin. Filmmakers can have a tough time distinguishing themselves in the crowded serial-killer genre. It’s hard to tell if Fritz was born to human parents or hatched from the primordial ooze of Isengard by the dark wizard Saruman. Anyone familiar with “Head-On” or “The Edge of Heaven” knows Akin to be an uncompromising artist whose best films are provocative without being trollish. But if you’ve ever longed to hear the sound of a saw cutting through neck gristle mixed for Dolby Atmos, this Cannes-prize-winning filmmaker has you covered. Get The Latest IndieWire Alerts And Newsletters Delivered Directly To Your Inbox.
Jonas Dassler plays Honka complete with a heavy make-up job and what looks like a sheen of grime and sweat. Although perhaps less to admire than Akin thinks. More violence. And to that end, well, mission accomplished.
More drinking. This Article is related to: Film and tagged Berlin, Fatih Akin, Reviews, The Golden Glove. 2020 Emmy Predictions: Who Will Win at the 72nd Primetime Emmy Awards?
Apart from upping the ante for grossness, Akin apparently discerns a strain of dark comedy in Honka.
It’s just his vision that seems to be the problem.
Jonas Dassler plays Honka complete with a heavy make-up job and what looks like a sheen of grime and sweat. Akin and his team do their best work in the bar that gives the film its title, a haven for outcasts and reprobates where people barely notice someone as unsettling as Honka. You can almost smell him.
Running time: 1 hour 55 minutes. Interviews with leading film and TV creators about their process and craft. There’s no reprieve from all this rancidness. The cycle continues.
However, even digging that deep into the themes of “The Golden Glove” feels like it may be missing Akin’s bigger point, which is that there isn’t one. A jar of pickled sausages grows enough white fur to make a winter coat. If Akin’s goal is merely to pull away that curtain, it ultimately feels like a hollow unveiling.
His skin is scaly and marked with sores, his pores like rusty dimes that have been filling with dirt in the years since his last shower. Clearly, artistic choices were made by him (and/or Strunk) in altering history, so the idea that “The Golden Glove” is some sort of groundbreaking example of “the way it really is” kind of falls apart.
“The Golden Glove” premiered at the 2019 Berlin International Film Festival.
to do anything more than disgust its audience.
Akin adapts Heinz Strunk’s 2016 book, which told the true story of a German serial killer from the early ‘70s named Fritz Honka.
This is a full and complete transformation — the kind of chameleonic work that Daniel Day-Lewis might have done if no one had been there to offer him something better. One is the red-light-district bar that provides the movie’s title, where Honka hangs out with Hamburg’s most down-and-out reprobates and picks up aging prostitutes.
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