Steppenwolf
by Fred Haines
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Actor: Carla Romanelli, Dominique Sanda, Max von Sydow, Pierre Clémenti, Roy BosierDirector: Fred Haines
Brand: Image Entertainment
Cinematographer: Tomislav Pinter
Writer: Fred Haines
Editor: Irving Lerner
Producer: Melvin Fishman
Producer: Richard Herland
Producer: Thilo Theilen
Writer: Hermann Hesse
DVD: Region Code 1
Audio: English (Unknown), Dolby Digital 1.0; English (Original Language), Dolby Digital 1.0
Format: Color, Dolby, DVD, Full Screen, NTSC
Picture Format: 1.33:1
Running Time: 107 minutes
DVD Release Date: 2006-08-15
Audience Rating: R (Restricted)
Studio: Homevision
DVD Reviews of Steppenwolf
DVD Review: Healing for the troubled spirit
Summary: 4 Stars
The 4 star rating is for the film, not the novel Steppenwolf: A Novel. The book itself merits 5 stars. The DVD looks like a pan and scan version of a VHS master, although with a menu of chapters, subtitles and the original trailer. In the German issue of this DVD you get an order form and write up on Hermann Hesse's collected works.
Max von Sydow (Harry Haller), Dominique Sanda (Hermine), Pierre Clementi (Pablo) and Carla Romanelli (Maria) deliver credible performances, faithful to their respective characters. Storyline is true to Herman Hesse's novel as well. The editing is hurried and choppy in the first half of the film, making it difficult to connect emotionally with the Steppenwolf's plight, whereas the surrealistic scenes in The Magic Theatre are superbly executed (pardon the pun). The illustrations used to depict the Steppenwolf's metamorphosis are reminiscent of the German Expressionist film, The Cabinet of Dr. Caligari (Restored Authorized Edition), and I suppose would be appropriate considering the story dovetails with the Expressionist period in Weimar Germany. Nevertheless, it's a film not to be overlooked if you love this amazing book by one of the 20th century's great writers.
"Steppenwolf" is in part an autobiographical story exploring the mid-life crisis of Hermann Hesse. Viewers should be aware that German nationalists up to this point had criticised Hesse for his pacifist writings and activities during WWI. He like so many of his generation had helplessly watched the socio-economic turmoil and transition of Germany during the Weimar Republic, although he had long ago immigrated to Switzerland. He witnessed the deterioration of his first wife's mental health, which subsequently lead to their divorce. And he was afflicted with gout and other physical ailments, some of which are touched upon indirectly in the film. With these tragic events weighing heavily on Hesse, he suffered a nervous break down, whereupon he underwent Jungian psychoanalysis (more about this below).
The result was "Steppenwolf", a poetic tale about a middle-aged man who is spiritually, emotionally and physically sick. Any doubt to its subject matter can be easily dispelled in the book of poetry entitled "Crisis", which Hesse published in 1927 at the same time as "Steppenwolf". It contains two poems found in the novel "Steppenwolf" and a number of confessional poems describing his despair and personal loss.
Despite the abundance of reviews and narratives written on "Steppenwolf" and Hesse's philosophical position it was, he confided in the preface of editions printed after 1961, his most "violently misunderstood" work. Hippies in the late sixties embraced its references to drug use, anti-war activity, provocative music and sexual promiscuity. Even counter-culture guru and psychiatrist Dr. Timothy Leary speculated in his book The Politics of Ecstasy (Leary, Timothy) what types of medication Hesse had been prescribed, based on his dream and surrealistic images, depicted both in his novel and this film.
In truth, Hesse's intention was to paint the picture of Steppenwolf's (or Harry Haller's) state of mind. To portray this personality, Hesse resorted to Jungian psychology, particularly the principals of `ego', `animus/anima' and `self'. Harry Haller is his `ego'. Hermine is his `anima' (animus in women). Pablo and Maria are his `self'. Harry Haller (whose initials H.H. are the same as Hermann Hesse's), however, is unable to integrate the opposite and multiple pieces in his psychological make up. Unity of the personality is attainable by emulating the immortals' (Mozart, Goethe, Nietzsche, Novalis) sense of humour or adaptability whenever confronted with rigid conformity and resistance to change.
When Hesse introduces us to Hermine, he is referring to the `anima' in himself; Hermine is the feminine name for Hermann. In Jungian psychology, this is the feminine principal present in the male consciousness or the inner personality in communication with the subconscious. Hermine is in effect the inner voice of Harry Haller (Hermann Hesse) helping him to unify his `ego' and `self'. She encourages the intellectual and serious side of Harry - the `ego' - to recognise and accept the sensual and animal (Steppenwolf) side of his personality - the `self' - which jazz musician Pablo and escort Maria are only too willing to nurture. Hermine is the unifying force of the `ego' and `self', leading to the realm of the immortals in The Magic Theatre where multiple aspects of his personality are synthesised and made whole.
In this respect, The Magic Theatre becomes a metaphorical extension of Harry Haller's mind. All that Harry loathes about the mediocrity of the bourgeois, all that he loves about Mozart, Goethe, Novalis and Nietzsche, all the passion he feels for past loves and Hermine -- in essence, all that comprises Harry -- is distilled and fused as one. For instance, the music of his revered Mozart is played through the radio he so despises; the ugliness of war he dislikes, he embraces with a theologian friend in a war against the automobile (or machine); and when he figuratively kills Hermine, expecting the jury of immortals to sentence him to the gallows, he is heartily laughed down by them.
As for the structure of the story, one literary critic has compared it to a sonata. "Steppenwolf" is comprised of three movements. In the first movement the narrator introduces us to Harry Haller and his peculiarities; the second movement elaborates on the "Treatise Of The Steppenwolf" to explain his personality and behaviour; and the third movement resolves the psychological conflict in The Magic Theatre. It is a plausible premise, considering Hesse's knowledge of classical music and his allusions to classical musicians. Unfortunately this fails to come across smoothly in the film, whereas it works well in the novel.
Despite the complexities of "Steppenwolf", it is a fascinating, heartfelt and meaningful story. Hesse pours out his soul, probing his psyche, confessing his insecurities and beliefs, his sorrows and joys, his sensuality and intellect, analysing his (the individual's) role in society and offering some form of spiritual solace. He speaks to us all, regardless of age, sex, race or culture. For we have all at some point in life experienced the bittersweet condition of the Steppenwolf.
Description of Steppenwolf
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