I write alot about how horror movies allow you to face down evil vicariously through their heroines and heroes. But there are also some that mess with you by making you follow the perspective of the killer – movies like PEEPING TOM, MANIAC (and its remake), DON’T GO IN THE HOUSE and HENRY: PORTRAIT OF A SERIAL KILLER come to mind.

The 1983 Austrian film ANGST is a masterwork of this type. It’ll fuck you up. To give you an idea, the Blu-Ray comes with an intro from Gaspar Noe, who says it is one of the films that influenced him most. I think that goes for both the bleak subject matter and the inventive camerawork by cinematographer (also writer and editor) Zbigniew Rybczynski. The movie follows a killer as he’s released from prison and then immediately starts killing again. He doesn’t even try to find a place to live or anything. He does stop off at a coffee shop, but it’s for stalking purposes more than for coffee. He’s played by Erwin Leder (DAS BOOT), but the first person narration is read by Robert Hunger-Buhler (Noe prefers the French dub).

This guy, just called “K., the Psychopath” on IMDb, walks away from the prison and finds the nearest espresso shop, where he eyes two young women, and the camera involves us in his creeping with fetishistic closeups of the parts he focuses on. And it also cuts to disgusting closeups of him eating a sausage, either as a metaphor for his predatory behavior or just to gross us out.

He decides the place is too public and too risky, so he leaves and hails a cab, but some guy very rudely snakes it from him and he has to take the next one, which has a woman driver. It’s one of those little random butterfly effect kind of things. It could’ve gone either way, but in this case if that guy wouldn’t have been such an asshole then this particular cab driver would not have the traumatic experience of a fare pulling out his shoelace intending to strangle her with it until she pulls over and confronts him and he gets spooked and runs off.

Also, if he would’ve taken the other cab, he wouldn’t have fled through these particular woods, ending up at a random secluded house which he decides to break into and terrorize the occupants of. He first finds an adult man (Rudolf Gotz) in a wheelchair, who drools and calls him daddy. He waits until the man’s mother (Edith Rosset) and sister (Silvia Ryder) come home and then attacks them.

Man, the way this guy manhandles them is gut-churning. I hope they were stunt women. He ties the younger woman to a door in a super-awkward position and then keeps walking past her like he forgets she’s even there anymore. He drags the older lady around and the way her belly is sometimes showing is so degrading, because you can see how important it is to her to have a nice dress and makeup and everything, she does not want all her humanity to be exposed in that way.

It’s very hard to watch, and then just when you think that at least it’s not gonna be super gory, it goes there. And rather than giving you some sort of cathartic experience by shocking you and then cutting away, it sticks with him for a vomitously long, completely pathetic scene where he’s laying on top of the horrifyingly dead corpse with his pants down and awkwardly pulls them up and then there’s a very long sequence of him walking around the property, sweaty and breathing heavy and seemingly a little dazed, and he looks like a total ghoul. The way the camera cranes up and shows this all from above really emphasizes that there are other residences around here and if they just had that angle to see over that little wall then things would be different here. But they have no idea.

And an extra insult to injury is the family’s weiner dog, who follows the psycho around not seeming to comprehend what he’s doing. At one point the dog tries to get him to play with a ball.

Another upsettingly impressive aspect of the movie is the realistic corpses. They look and move too authentically to be dummies, as far as I can tell, but there’s a long section where he drags two of them through broken glass, down stairs and then down a long tunnel, and they never seem to flinch. There’s also a very long take where one lays in the foreground, her eyes open, and I was watching. I saw no breathing. It’s fucked up.

For what it’s worth, making you follow this psycho does not trick you into rooting for him or anything. I hated the fucking guy, and really felt for his victims, who we know very little about. His occasional stories about being abused as a child (also killing an animal as a child) make you think “yeah, that’ll mess a kid up” but not “well, this guy isn’t all bad!” So I don’t see this as some kind of sympathy for the devil movie. It’s just a more painful way to tell a painful story.

If ever there were a movie that you had to take a shower after, this is it. But stylistically it’s clean. There are many how-the-fuck-did-they-do-that shots that seem to have a camera attached to him or otherwise move in unusual ways. There’s a cool synth soundtrack by Klaus Schulze, who was the drummer for Tangerine Dream on their first album. I especially like it when the beats come in.

Director/co-writer Gerald Kargl did no other movies. He had done one documentary short before this, and nothing after. But the same year ANGST came out, cinematographer/co-writer/editor Rybczynski’s animated short Tango won an Oscar, making him the first Polish artist to ever win one. He was also the first Polish artist to get arrested at the Oscars for starting a fight with security for not letting him back in after stepping outside for a smoke while holding his Oscar. He soon emigrated to the U.S. from Poland and became one of the early music video directors. In 1986 he won MTV’s Video Vanguard Award, presented to him by The Pet Shop Boys.

Selected (by me) videography:

“Candy” by Cameo:

“Sex Machine” by Fat Boys:

“Dragnet” by Art of Noise:

In my opinion these videos are pretty different from ANGST, but that last one shows Rybczynski’s interest in chromakey, which he developed his own improved version of, leading to a job in research and development at the Ultimatte Corporation.

Also in 1992 he did the curtain opening sequence for The Tonight Show. So I guess that’s the connection between Jay Leno and the most fucked up movie I’ve seen in a long time.

At the time of ANGST, Leder was known for his role as the chief mechanic Johann in DAS BOOT. But ANGST was barely released due to its extreme content, and he didn’t work again until 1993. The good news is that one of the movies he did that year was SCHINDLER’S LIST. But then he took another ten years off before playing Singe in UNDERWORLD. (He also had a cameo as Singe’s dead body in UNDERWORLD: EVOLUTION).

Anyway, ANGST is a great movie of its type. Doesn’t mean you should watch it, but it’s true.

This entry was posted on Tuesday, November 13th, 2018 at 12:32 pm and is filed under Horror, Reviews. You can follow any responses to this entry through the RSS 2.0 feed. You can skip to the end and leave a response. Pinging is currently not allowed.

16 Responses to “Angst”

  1. Ah, the difficulty of a movie where you have to go “I think this is an absolute artistic masterpiece, and I urge you to never under any circumstances watch it”

    One thing I… well, like is probably the wrong word, but one thing I appreciate about it is that it is unusually clear-eyed about how unglamorous being a serial killer psycho is. There’s no Hannibal Lecter here, nobody who could play cat-and-mouse games with the cops or stage a scene with the corpse surrounded by candles or follow through with a gimmick or anything. He’s constantly narrating (and actually, if I read IMDB right, the voice in his head is Robert Hunger-Bühler, so it’s not even his own voice narrating) but it gradually becomes clear that the things he’s saying make no sense and don’t necessarily correspond to what you’re seeing, or sometimes even what he’s already said. And why? Because he’s fucking nuts. He has, as Kurt Vonnegut described, a “head full of bad chemicals.” He’s completely unable to formulate a plan or make good strategic decisions, even about his crime spree. He’s not even really evil, exactly, he’s just this broken program following through on the commands its been given. That’s about as Austrian Nihilistic as you can get.

    “And an extra insult to injury is the family’s weiner dog, who follows the psycho around not seeming to comprehend what he’s doing. At one point the dog tries to get him to play with a ball.”

    Who says Austrians aren’t funny?

  2. One of Schulze’s cues ended up in MANHUNTER.

  3. Yeah, this is definitely one of the best of the “you are not allowed to enjoy this” murder procedural school of slasher film. I didn’t know anything about it before I watched it, and when I researched it afterward, I couldn’t believe it was made in 1983. The style and tone is a decade ahead of its time, at least. That style—the crazy but controlled camerawork, the cool score, the measured pacing—are what make it palatable. The style almost works against the content, creating what you’d think would be a disconnect, but it actually allows you to engage with the material in a way you might not if the style was designed to be as repulsive as the subject matter.

    Anyway, maybe I shouldn’t admit this but I really liked this one. It feels kind of like a normal slasher movie with the cheat codes on, letting you venture into areas you normally can’t.

  4. I’ve heard of this movie but never saw it. Wikipedia says it was banned over here before it even premiered, which seems likely, based on its content and release date.

  5. What is it about guys like Gasper Noe that makes me think of they didn’t make movies they would be mass murderers or, at the very least, Nazi rapists?

    I also remember thinking Man Bites Dog was hilarious but I wonder how my 41 year old brain sees it now.

  6. Oh good, I can add another movie to my Terrified But Also Morbidly Compelled to Watch list. It’s weird I’m only just now hearing about this one.

    Anyway, I’m always impressed by your ability to offset a super nihilistic movie review with little gasps of fresh air, or in this case, a Fat Boys video. Hats off to you, Vern.

  7. wow, that Art Of Noise video is to vaporwave what Neil Young is to grunge.

  8. great review of a movie i have tried, and failed, to get into for years. i’ve got that same blu-ray with Noe calling it ‘the rarest of masterpieces’ etc. the style is interesting but it creates a massive disconnect between myself and the film. i’m watching this maniac terrorise these people and it should feel as though i’m getting repeatedly kicked in the balls but i just sit there really unphased thinking ‘neat shot. wonder how they pulled that off.’

    definitely ahead of its time though. my brain kinda lumps this one in with other miserable German/Austrian psycho killer opuses like SHRAMM and Marian Dora’s CANNIBAL in case anyone here wanted to make a night of it.

  9. At 1:12 you see in the Cameo video a theatre marquee advertising TOP GUN, FROM BEYOND and STAND BY ME. Just pointing that out, because decades old theatre marquees are always fun.

  10. “Klaus Schulze, who was the drummer for Tangerine Dream on their first album” – aw, come on. I must object. Schulze’s solo discography literally runs into the triple digits; the dude has put out a massive amount of music, and his 70s albums are pretty much wall to wall classics of the synth genre. I interviewed him earlier this year (by email, unfortunately – I was really hoping to get to travel to Germany and see his house full of synths in the Bavarian woods), fulfilling a dream of at least 10 years’ standing.

    I have no interest in seeing this movie, though.

  11. Wow. Those videos have a really strong sense of auteurial intent. Did not expect that.

  12. The one he did with Jimmy Cliff for “Hot Shot” is very worth viewing in its entirety.

  13. If you watch this and hate the subhuman monster that the killer is, but tell yourself that at least he’s just a fictional character, nothing real… well… he’s not. He’s Werner Kniesek. The film faithfully recreates an orgy of murder that he committed, although the introspections come from Peter Kurten, because Kniesek was exactly as he looked in real life, as slimy and stupid as he was empty. Another difference, of course, was that in reality the girl didn’t die so quickly… according to Wien police files, Kniesek burned her, cut her, raped her and tortured her for 12 hours.

  14. Didn’t know that this was based on a real murderer. Been a few years since I saw it and don’t recall if it included a ‘based on a true story’ claim. That added knowledge makes it more disturbing than it already was. I saw Angst on a double bill with the equally disturbing but more narratively stylised In a Glass Cage (1987). Part of a sub-category of very graphic and intense films with real merit that genuinely warrant the label ‘challenging’, like the unbearable, almost impossible-to-watch Megan is Missing. I found that more upsetting than Angst.

    Assessing Angst purely as cinema, it’s mind-boggling. The camerawork alone is stupendous. I didn’t think shots like this were possible in 1983, with a 35mm camera mounted onto the actor, but there they are.

  15. Man, this is one of those movies I really braced myself for going in, thinking I would have a hard time stomaching it, then… I wouldn’t say I thought it was tame, but I found it much easier to take than I thought. I was especially surprised by all the great gallows humor. I burst out laughing when he crashed the car and the trunk popped open in front of those kids. Also thought the way it contrasted the stylized and verbose narration with the very apparently sloppy execution of his crimes was funny (i.e., saying “this time I will not be caught” and then immediately doing a bunch of shit to call attention to himself). Definitely an interesting entry in a weird genre.

  16. So, I’ve just finished watching a film that reminded me of “Angst” a lot, even as I was watching it… and I’m not even sure why, because on the surface, it’s completely different.

    This one is 1981’s “Anna i wampir / Anna and the vampire” from Poland. Also based on a true crime, this one being the murders committed by serial killer Zdzisław Marchwicki, the “Vampire of Silesia” (although this one is *really* based on it – it’s almost a documentary, following the true case to the tiniest detail).

    It seems so different – it follows the investigation, it’s nowhere as horrible or repulsive as “Angst”, and the lead character is likeable, as are most other characters (well, not the killer, obviously), it was made earlier (filmed in 1980, apparently, released over a year later), it’s a different era, a different place… but it made me think of “Angst” very often.

    And as I said, I’m not even sure why. Maybe because of the music or the inner monologue of the lead character? I think it may have been the ambience, which was very much like “Angst”. It was heavy, constantly unnerving, constantly tense. Watching it was like having someone’s strong hand grab you by the nape and keep holding you by the neck – not to kill you, but not to let you go for even a second. You could never relax – even when the lead character was removed from the investigation and went for fishing to relax, you couldn’t, because you knew something would be coming in a moment (and it did).

    It was like being surrounded by thick fog, and knowing that there’s someone in it, and he’s watching you, but you can’t see him. (Fog was actually a very important motif in the film). I suppose that must have been it – that was how I often felt while watching “Angst”, and how I felt all the time while watching “Anna”…

    „Anna i wampir” w Telewizji Kino Polska

    Film fabularny oparty na wydarzeniach prawdziwych. Zagłębie Dąbrowskie. Kolejne kobiety padają ofiarą tajemniczego zabójcy. Atakuje zawsze tak samo: we mgle,...

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