The end of the year proves to be busy, and it’s not easy at the moment to sit down and watch a film. I hope that I soon get to see Wang Bing’s Dead Souls. This is the one film I still want to see this year, if I don’t manage to see more than one. Although I should. There are still two Nikolaus Geyrhalter films waiting for me. So much slowness, so little time. This irony… 🙂 In any case, I need to prepare an article on the uses of sound and silence in the films of Lav Diaz because I have been invited to Lyon for a study day on the director. I might publish this one either here on the blog or in the next issue of The Art(s) of Slow Cinema magazine.
In any case, there is an outstanding project from, believe it or not, seven years ago. In October 2011, I wanted to submit a paper abstract to a conference on landscape and film in Ireland, but had never found the time in the end. At the same, my interest in Slow Cinema was still in its early stages. Nevertheless, I knew that there was a special relationship between the landscapes, the streets, the empty and degrading houses of Béla Tarr and his films’ characters. In many ways, what I have noticed in the films of Tarr only returned once I began to discover the work of Lav Diaz. These two directors are special in their assigning a sort of character status to their landscapes, turning them into ghostly characters that mirror the characters’ inner psychological landscapes; their pain, their angst, their suffering, their devastation.
Anything that surrounds a character becomes a character itself. This isn’t the case with all slow films, so I wouldn’t necessarily say that it is a particular characteristic of Slow Cinema. Béla Tarr, however, used to be one of those few directors who persistently followed this alley and who also assigned a special role to his camera. Everything became a character, everything played a decisive role, and everything added to the heaviness and power of his films. For that conference in Ireland seven years ago, I had planned to look at how the landscape/the surrounding becomes a mirror of the characters’ psyche. In particular, I had wanted to look at Karrer, who is, of course, the main character in Tarr’s Damnation, and at the woman he seems to be infatuated with. I believe that Damnation is really the first vertical, in-depth film, which looked specifically inside the characters. Characters began to have extraordinary depth and were more than just elements used to push a narrative forward.
We just follow the real psychological process, not the story, not the verbal information. … If you have a chance to make some really deep things, I think everyone can understand everything. The question is always the deepness: how you can touch the people. (Béla Tarr)
At the same time, Damnation is perhaps the most obvious example of how directors can use landscape in order to underline the characters, if I could say it in this way. According to interviews, Tarr spends a lot of time looking for the right background to his story. And it pays off. He selects his landscapes carefully, making sure that they’re in perfect alignment with his characters and his stories. The beginning of Damnation is already a good pointer towards this. It is perhaps the most iconic opening of all of Tarr’s films, perhaps even of all slow films (I’m sure you think the same!). We watch cable cars passing by, a remnant of the city’s coal mining past. The sound is perhaps even more incisive. I can still hear it when I think back to the film… The camera slowly, very slowly zooms out and we realise that we don’t actually watch the cable cars, but a man (Karrer) watching the cable cars. We watch someone watching something. This is repeated several times in Tarr’s oeuvre. Just think of his 1994 seven-hour masterpiece Satantango, in which we watch an old doctor watching his neighbours. Bernhard Hetzenhauer wrote a fantastic book about this, Das Innen im Aussen, which, if you can read German, is a must-read.
The cable cars, buckets that used to carry coal from one place to another, are a pointer to the past, the death of the mining industry having plunged the village into its own death spiral. The houses we see are in a sad state. The persistent, continuous rain adds to the atmosphere of something passing by, of something that is clinging on but knowing that it won’t have strength for much longer. The decay of the houses foreshadows the decay of the characters. If anything, it is perhaps the rain that acts as the most faithful interpretation, or rather mirror image, of Karrer who is in love with the wife of another man. He doesn’t accept being rejected and, in the end, loses everything.
Take it or leave it, this is what you’re stuck with. What can you do? You lose your words, yet you cannot go. It’s been over for a long time. It’s good that utopia exists. Good to know I won’t be here for long. Take it or leave it. (song in Damnation)
The identities of landscape and character overlap in Damnation. They merge to become one. When Karrer offers the woman’s husband to do a smuggling job for him in order to get him out of the way, he becomes morally corrupt. He would do anything to be able to continue his love affair. Karrer’s offer shows his own downward spiral, the moral corruption becoming a picture of his internal degradation. Tarr intercuts this degradation with scenes of the village. Damnation is interesting because throughout the film, the focus remains on the actual characters alone. The director presents a village that is pretty much emptied of people. The only constant companion is the rain. This makes is easy to establish a link between the few characters we follow (Karrer, the woman and her husband) and the empty landscapes we see in scenes before or after them. Who is of more importance in the film?
Interestingly enough, there are scenes that question the importance of the characters and which focus more intensively on the landscapes, or the surroundings in general. This is helped with Tarr’s independent camera, independent in the way that it moves wherever it wants without necessarily following a character. There is one scene that makes this absolutely clear. After initially having rejected Karrer’s offer to go out for dinner, the woman allows him into her flat and they have sex. This sequence says more than a thousand words. The camera doesn’t bother much with the couple. It looks around the room, panning slowly and carefully to allow us an in-depth study of the austere flat and the rundown streets outside. The non-passionate and loveless act between the two characters is seemingly unimportant. What matters is the expression of the characters’ inner lovelessness through the expression of an austere mise-en-scène and natural elements like rain that carve deeper and deeper holes into a slowly dying internal and external environment.
Writing on the film Barren Lives by Nelson Pereira dos Santos, Jean -Claude Bernadet suggests that the structure of the film
“is not conditioned by the action of the characters, but rather by nature: it is the rain and the drought that decide the beginning, the middle, and the end of the film.” (in Representing the Rural, p156)
One cannot deny that Tarr follows the same principle in Damnation, perhaps more so than in his other films with the exception of his last film, The Turin Horse. What characters may not be able to express is expressed through their surroundings as metaphors. Tarr’s characters are not easy to read. There is little emotion involved. Everything happens inside them. When Karrer leaves the woman’s flat after they had sex, he doesn’t give any hint as to how he feels. But for once, the rain has stopped. Things brighten up. It is nature that tells us about Karrer’s feelings, not Karrer himself. Tarr makes himself deliberately dependent on nature, on psychologically charged landscapes in order to give his seemingly flat characters an extraordinary depth.
The end of the film is most emblematic of the director’s pursuit of blending characters with their surroundings so that they become one. Over the course of two hours, Karrer slowly disintegrates, as does the village. With nothing left, Karrer becomes no more than a dog, on all fours imitating the stray dog who barks at him, drenched in rain and mud. Damnation is a story about the life of a dog in human disguise, whose mask drops ever so slowly, but continuously, just like the persistent rain slowly but surely swallows the village. It won’t leave any traces, and Karrer, too, will disappear.