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Europa (1991)
(aka Zentropa)

A review by Damian Cannon.
Copyright © Movie Reviews UK 1997
A technically dazzling, convoluted encounter with post-war Germany, Europa impresses even as it staggers through an ambiguous plot. Arriving a few months after the surrender, Leopold Kessler (Jean-Marc Barr) finds himself surrounded on all sides by the aftermath of WWII. Although born an American, Leo has German parents and feels, idealistically, that he'd like to give something back to the devastated country. Aimless beyond this basic notion, Leo has been found a position by his zealously bureaucratic Uncle Kessler (Ernst-Hugo Jaeregaard). He will become, like his uncle, a sleeping-car conductor with the Zentropa railway company. Forced to pay out handsomely in order to secure this vacancy, Leo is soon thrust into the Kafkaesque world of the first-class carriage.

Trained in the arts of shoe-polishing and bed-making by his officious but boozy relative, the proud attitude of the travellers is in marked contrast to the decrepitude of the carriage. During the journey, Leo meets Katharina Hartmann (Barbara Sukowa), the daughter of the company owner. She takes quite a shine to the naive Leo, intrigued by his US origins. However, the same trip also serves to reveal the chaos simmering beyond the staid walls of the compartment, when Leo spots the executed bodies of some "Werewolves". These individuals were members of a terrorist organisation which is still fighting the US, as well as any Germans who dare to collaborate with the "invaders".

On Katharina's recommendation, Leo is invited to dinner by Max Hartmann (Jorgen Reenberg), his ultimate boss. Accompanied by his grasping uncle, Leo meets the son Lawrence (Udo Kier) and another guest, Pater (Erik Mork). Dark wartime secrets nip at the heels of those present, throughout the meal, with Pater directing particularly disparaging remarks towards Leo (because he took no side during the conflict). Max has metaphorically dirty hands from allowing his wagons to be used for the transport of an entirely different form of cargo, during the war, while the current climate requires evidence of a clean past. An old friend, US Colonel Harris (Eddie Constantine), may be able to assist in this respect. However, Leo remains stranded in no-mans land as Katharina chases him, Harris tries to recruit him and Uncle reproaches him for not studying hard enough for the coming exam.

Drawing its spirit from the ruins and confusion of a broken Germany, Europa reflects the uncertainty afflicting a society dedicated to order when faced with anarchy. On one side sit the pragmatists, people who co-operate with the Allies in the hope of safeguarding their future and making some cash. In opposition, the "Werewolves" are dedicated towards sabotaging the US efforts at rebuilding and rooting out so-called enemies. Lars Von Trier evokes the swell of events around innocent (maybe foolish) Leo by evading narrative clarity and opting for style over substance.

Given the reduced importance of character development in Europa, the central figures are placed in limbo. While there's little encouragement to care deeply about the characters, it's not the case that whatever happens to them has no emotional impact. Instead they inhabit a middle-ground where their experiences are intellectually interesting rather than physically moving. Barr is quite reasonable as the pacifist-deserter, unwittingly used by others without ever deciding what he'd like for himself. Beyond Barr, the crowd scenes provide the most vivid examples of humanity, massed visions of refugees, concentration-camp survivors and uniform-clad employees.

While the script is dense and initially wayward, it eventually builds to an arresting climax. The themes of shame and how ordinary folk behave to survive in times of war and peace are handled with depth, if clumsily. However, the real kudos goes to the stunning visuals. An air of paranoia emerges from cleverly constructed and manipulated sets, optical tricks and the multiple cinematic references. Mostly shot in black & white, which allows shots as breathtaking as the rush of a steam-train through a tunnel, brief glimpses of colour occur. These chromatic interludes seem to indicate connection, the moments when lives touch, but this is not a rigorously applied rule.

Altogether, Europa makes some perceptive comments on the problems facing a post-war civilisation. Unfortunately these are obscured behind the surreal, such as Max Von Sydow's artificial but hypnotic voice-over. Trier has made an impressive film which looks just tremendous, but this is a beauty which incompletely masks the underlying weaknesses.

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