“Love is a hobby in which the belly plays a key role” – someone will comment on Fabia’s merry walk in the dark alleys of Berlin in 1931. The Weimar Republic is trembling. Adolf Hitler will soon come to power. Meanwhile, Fabian Jacob leads an elegant life, dedicated to the joys of his age. One wanders around the nightclubs, looking at the cabers dripping with the decadence that will soon be abolished. In such places, a man meets 25-year-old Cornelia. The girl works there as a bartender, but she is an intern in international law in a large film company on a daily basis, and also has dreams of acting. The couple falls in love. However, this is only the successful beginning of Fabia’s series of failures. A talented boy is literally fired. Until now, he worked in a tobacco publishing house, where he wrote advertising slogans. The crisis and other circumstances have made the 32-year-old man unemployed. Fabia’s best friend, Labude, is bored with her wealth and success in life, and sees herself as a communist activist. Cornelia gets a lucrative acting offer. The ways of peers are different.
Dominic Count’s film is a collage of two worlds: a collapsing liberal democracy and a rising dictatorship. The director decided to fit these two shots into one frame: the disinfection of the first period, as opposed to the order of the second. Thus, without maintaining a single form expression, we obtain a picture that is very carelessly combined. The story is a structure scattered with obscure frames, freely substantiating the author’s message. “Fabian or the world descends on dogs” begins with a copy of the modern Berlin subway, while we encounter archival newsreels, and here and there the authors are able to fill them directly with motifs from the works of Andy Warhol. . The director, as if demonstratively resisting such arbitrary games with celluloid, considered it expedient to acquaint the narrator with the role of the discipline of the message. Although this controversial procedure introduces the element that makes up the story, it sometimes sounds grotesque when the actions of the main characters are interpreted from behind the screen.
“Fabian or the world descends on dogs” is an adaptation of Erich Kästner’s book with a slightly changed title. The period of the dying Weimar Republic is widely described in world literature. The withdrawal of Dominic Earl’s hand will not bring much to the subject. And I don’t think he intends to do that. The historical background is far behind the drama between the leading couple. Although brown shirts revolve around lovers, this creature does not interfere much, you can even say – restrained. Finally, the piles of books seem to indicate a forthcoming epilogue, but viewers who do not encounter the essence can only accept it as an artistic allegory.
Fabia’s romance with Cornelia attracts attention with its extremely dramatic message. The director resorted to extreme melodramatic forms, when in one of the main series, the girl’s tears fall directly into a coffee cup. The process of acting as an actor is also painful. Fabian gives the impression of a blaze film, and he regains strength only at the last stage of the story, as if he wanted to compensate for the lost time with a sterile expression. Paradoxically, this does not mean that the metamorphosis of a man’s personality is noticeable. The film, which claims to be Fabia’s passion, is not shown reliably in the film. Cornelia can’t justify the drama of parting with her boyfriend for her career, other than the natural personal attraction she really exposes. The plot of Labude, whose fate is more likely to be in the historical context of the film, seems to have forcibly clung to the story.
In difficult times, Fabian and Cornelia try to imagine the taste of Holstein schnitzel as an ordinary wheat meal with a closed. “Fabian or the world goes to the dogs” makes a similar impression. Dominic the Earl wants to tell an interesting story about interesting times. It is sometimes successful, but in a long film, the pace and dynamics of which are not clear, it uses overly repetitive motifs. So, instead of a movie party, we will have to stick to the usual indoor meal