The Tin Drum (1979)
Directed by Volker Schlöndorff
In 1924, Oskar Matzerath is born in the Free City of Danzig. At age three, he falls down a flight of stairs and stops growing. In 1939, World War II breaks out.
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What critics compared The Tin Drum to
Oh sure, there have been a couple of examples of this particular brand of filmmaking that I have admired—John Boorman’s “Hope and Glory” and Steven Spielberg’s “Empire of the Sun” (especially its astounding first hour or so) immediately spring to mind—but those hardly begin to make up for such utter grotesqueries as “The Tin Drum,” “The Boy in the Striped Pajamas” and, of course, the more-appalling-than-ever “Life is Beautiful,” films that take the most horrific event of the 20th century and attempt to milk it for cheap sentiment and, hopefully, Oscar nominations from people who mistakenly assume that just because a movie involves a serious subject like the Holocaust, it must be serious as well and therefore worthy of consideration.
Somehow Waititi mongrelizes Gunther Grass’s The Tin Drum and then fails the critique of idol-worship that made Marco Bellocchio’s Vincere — with its full-out correction of Mussolini’s impact on the romantic imagination of a subjected populace — a perfect allegory for Obama-era idolatry.
There are touches here of Dorian Gray, Benjamin Button, “The Tin Drum,” Orlando and even a bit of X-Men.
The casting of veteran German stars like Angela Winkler (from The Tin Drum ) and Ingrid Caven (one of Fassbinder’s muses) reinforce the sense that Guadagnino is playing homage to much more than just Argento’s original.