Young Törless (1966)

This movie is the proof that the world is becoming a sick and dumb place

So much average

Overrated

How sad is this?

I selected this DVD off a library shelf at random. I had never heard of Young Torless. My idle curiosity was well rewarded. The film belongs in the same league with Loneliness of the Long Distance Runner, Zero for Conduct, Lord of the Flies, or other similar works. Perhaps there is allegory here, a foreshadowing of the murderous future of the Germanic peoples. Or maybe a nearer, smaller-scale atrocity: several scenes are as chilling as eavesdropping on a Leopold and Loeb strategy session.This is expertly crafted film making. Everything – casting, shot composition, editing, plot structure – works. Barbara Steele landed one of the great roles of her career. The music is especially effective. Hans Werner Henze's use of modern tonalities played on ancient instruments functions perfectly, achieving the film score ideal that complements the picture and other sounds, a Greek chorus without words. Aided by Henze's score, some of the scenes in Young Torless brought back with painful clarity many a sad, bleak, cloudy-morning memory of sophomore year in high school.

It would be extremely difficult indeed impossible for the great master of New German Cinema Volker Schlondorff if he were to make Der Junge Toerless in current times as many would surely accuse him of spreading the message of anti Semitism.The truth is in reality this film does not harbor any such ideas.However that was not the case in 1950s when he directed this film based on a book by Robert Musil.Of course,it is not a layman's fun stuff film in the conventional sense of the word but one cannot remain indifferent to whatever that has been portrayed in the film. Many have praised the stand taken by Toerless in which he feels empathy for the victim but decides to ignore the events claiming to himself that as they are not affecting him why should he bother too much about them ? The real danger is that some of the viewers might perceive it as a thinking of the past and a very negative politically incorrect ideology. It is in the context of these thoughts that this torture drama behind the closed walls of a boarding school must be viewed.This is certainly not for the weak of the heart.

The movie won an award at the Cannes Film Festival when it was first released and signaled the beginning of a German cinematic revival. The book was written in 1906 and is a tedious read, although thankfully a short book. Homosexuality plays a large role in the book but virtually does not exist in the movie. Torless, a horny teenager in an all boys school, eventually has a torrid sexual affair with one of the students. The movie chooses to ignore this, and maybe for good reason as it was released in I believe in 1966. Filmed in black and white, the lack of color contributes to the atmosphere of German austerity that director uses to his advantage. The final speech by Torless is a brilliant defense for the lack of opposition by the middle class to the rise of Hitler. Most of the teenagers in the movie were not aspiring actors but were chosen almost at random for their roles. But considering the time in which it was produced this is a land mark film, especially for German cinema. The movie is much more entertaining than the book and the director,Volker Schlondorff, did a fabulous job and deserves the awards it was given.

Faithfully adapted from author Robert Musil, this study of sadism and masochism among students at an Austro-Hungarian boys prep school is a parable of fascism and its origins. Barbara Steele is radiant and splendid as Bozena the prostitute who awakens the nascent sexual nature of the adolescent students. Lovingly photographed in black and white, YOUNG TORLESS evokes the mood and claustrophobic horror of the dehumanizing military system. Matthew Carriere gives an unblemished and heartfelt performance as an innocent caught behind the barbed wire walls of his very soul and the duty to which he has been placed. A must-see for everyone and an advocacy for pacificism. This was Volker Schloendorff's first film, and by admission one of Barbara Steele's favorite roles.