The Mordant Geography of Desire in Barbet Schroeder’s More (1969)

[...]the desire for sunlight is conjoined with Estelle and drugs. [...]by taking the film’s protagonists outside of the city and the scenes of cultural revolution, Schroeder is making a point. [...]he was creating a cartographic imaginary, linking drug addicts and dealers and the secret locations of...

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Bibliographic Details
Published in:Offscreen 2015-11, Vol.19 (11)
Main Author: Lennon, Elaine
Format: Article
Language:English
Subjects:
Extremism
Heroin
Motion picture directors & producers
Nowell-Smith, Geoffrey
Online Access:Get full text
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Summary:[...]the desire for sunlight is conjoined with Estelle and drugs. [...]by taking the film’s protagonists outside of the city and the scenes of cultural revolution, Schroeder is making a point. [...]he was creating a cartographic imaginary, linking drug addicts and dealers and the secret locations of Nazi iniquity across Europe which writers like Frederick Forsyth and Sam Bourne (aka Guardian journalist Jonathan Freedland) have (made) known for decades: former Nazis gather annually in Europe’s top holiday spots such as Ibiza, Alicante and Portofino, to name but a few, at the beginning of the season, and cheer their good fortune at having escaped retribution, the Allies having long given up the chase. [...]the point is made – calling him “Wolf” by itself signifying Nazidom (their familiar alias), plying his trade, in a different way, in a different climate. According to Sam Rohdie, …ritual and movie structure exist as delimitations of choice.
ISSN:1712-9559