A blue Wartburg castle, built in 1961, may have been in 1989, not quite the ideal escape vehicle from the GDR. In Andrew Goldstein’s Film “Adam and Evelyn” fits the “jalopy”, but it’s perfectly. Because the epoch-making events of the turn have befallen the world in fast-forward. Now, a Generation later, it seems useful to go through it again in slow motion. Because there were a few questions are still open. Above all, the crucial point is this: What, exactly, happened, actually, when the GDR began to disappear?
the driver of The Wartburg carries the civil name Lutz Frenzel. His call name is Adam, for reasons about which one can be a beautiful speculation. Adam is a character from the novel “Adam and Evelyn” by Ingo Schulze, published in 2008. His life in the summer of 1989 is like a Idyll.
He is a master tailor with an Atelier in the countryside, its clientele is predominantly female, some of the women in the garden and then also take pictures, with a new dress or without. And sometimes in the shoes of Evelyn. The experiences as Assault because they want to share neither their shoes nor their life partners with other women.
Adam and Evelyn, between Paradise and original sin
you would prefer to be with Adam, to Hungary, to the holiday at the lake Balaton. What this meant in these weeks, must not be extensively recalled. About Hungary one of the first trails in the West, led at that time, the diplomatic missions of the Federal Republic of Germany in the socialist brother countries, dissatisfied citizens of the GDR struck first breaches in the journey of freedom.
Evelyn is a waitress, she dreams but of a study of the history of art. Because Adam does, Evelyn, finally, with another car: a West car, spic and span and ensure just, two years in the rims. It belongs to a boy named Michael, who makes Evelyn’s friend of the court.
Michael is the one who says to Evelyn: “I would be with you now in New York.” Or: “In Rio, you can have a bath Christmas in the sea.” Or: “In forty, fifty years, we have the Most grip.” He says the death. As a cell biologist, he is working on the abolition of death, meanwhile, are passed by the forty, fifty years, thirty.
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This is not to say, however, that Ingo Schulze or Andreas Goldstein would make this, Michael funny. To do this, the tone of the book and of the congenial film is far too laconic. Michael comes from a country where it is always possible to leave everything behind, but few have the specific. Evelyn, in contrast, is animated by this Pathos: “I would like to leave everything behind me.”
