Return to Montauk

2017 [GERMAN]

Action / Drama / Romance

28
Rotten Tomatoes Critics - Rotten 46% · 13 reviews
Rotten Tomatoes Audience - Spilled 43%
IMDb Rating 5.9/10 10 1347 1.3K

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Plot summary

During a book tour in the United States, Max meets and falls in love with a young woman. Many years later, Max returns to the United States, hoping to reunite with his young lover.


Uploaded by: FREEMAN
January 02, 2018 at 04:31 PM

Top cast

Stellan Skarsgård as Max Zorn
Nina Hoss as Rebecca
Niels Arestrup as Walter
720p.BLU 1080p.BLU
775.47 MB
1280*534
German 2.0
NR
23.976 fps
1 hr 46 min
Seeds ...
1.61 GB
1920*800
German 2.0
NR
23.976 fps
1 hr 46 min
Seeds 2

Movie Reviews

Reviewed by ZeddaZogenau 8 / 10

EUROPEAN FILM AWARD nominee Nina HOSS and a Novella by Max FRISCH

Only the rough plot structure remains of the Swiss writer Max Frisch (1911-1991) and his story "Montauk". The Irish writer Colm Toibin and the director Volker Schlöndorff do their own thing with it. And that's good!

Stellan Skarsgard is convincing as a man of missed opportunities, a celebrated writer who has absolutely no idea about real life. Just compare his performance to that of the redneck in "Breaking The Waves" (1996) to appreciate what a great actor he is.

And then there is Nina Hoss. The magnificent German actress (Silver Bear 2007 for "Yella") makes the screen shine. Even though she has more text here than usual in her films, her looks and gestures say it all. What a movie star!

The Lola Award winner Susanne Wolff, who has long since proven with the phenomenal "Styx" (2018) that she can carry a film all by herself, plays a smaller role. For me, her performance as "Maria Stuart" (2007) at the Thalia Theater in Hamburg will never be forgotten.

New York City is shown in all the beauty and ugliness this city has to offer. The images by the sea are fantastically beautiful and make this surprisingly successful film float.

Extremely worth seeing!

Reviewed by narrog-24994 5 / 10

Not for return viewing

Movie director Volker Schlöndorff has a number of good films to his name. This is definitely not one of them. Inspired by a novel of the Swiss author Max Frisch, Schlöndorff has said in interviews that the contents is basically autobiographic. The main protagonist (Stellan Skarsgård) is a middle-aged, successful, and womanizing novelist from Northern Europe. He returns to New York and links up with one of his former lovers, the one he considers the true love of his life, a German immigrant who is now an extremely successful attorney in NY (the German star actress Nina Hoss). The two travel to Cape Montauk, where they the novelist tries to revive their former relationship.

Throughout the film feels like a mediocre TV production, and never really takes off. Other reviewers have already given their opinion why. Here is mine. First and foremost, it's difficult to empathize with the protagonists. Who would care about the small problems of this super-successful and super-self-possessed middle-aged couple? What's the point for the audience if the novelist chooses his gorgeous former flame over his gorgeous current wife? Second, the dialogue is stiff and unnatural, especially the parts spoken by Nina Hoss. She doesn't sound fluent and natural like a successful attorney would, but rather like someone who has come fresh from Germany and has memorized her lines. That being said, the quality of the acting is generally quite good, as is the photography. So, the failure really comes down to the script.

Reviewed by septimus_millenicom 10 / 10

Late period Schlondorff Masterpiece. Nina Hoss's work rivals Nastasja Kinski's in _Paris, Texas_

_Return to Montauk_ is an unauthorized "sequel" to the late Swiss writer Max Frisch's semi-autobiographical _Montauk_. Max's former benefactor Walter plays a large role in the book. Stellan Skarsgard endears as the aging Max who is like a eager teenager when he is with the ladies. Nina Hoss' delayed entrance as Rebecca, his elusive object of yearning, is truly worth the wait. She is the Jeanne Moreau of our times. Rebecca contrives to spend the night with him in a Montauk hotel where they once stayed. There, on the white sand, a stone's throw from the iconic lighthouse, Hoss delivers a powerhouse monologue that shatters his hope of a long-term reunion.

It is an absolutely electrifying performance, one can that recalls Nastassja Kinski's in _Paris, Texas_. As she jumps from wistful half-smiles to resignation to sadness, all within a matter of seconds, Hoss's gestures become so tender and lifelike -- utterly unpredictable yet jolt you with the shock of recognition. She has a way of averting her gaze, or cradling her boot on the bench, that tells you every word comes from deep within her, is drawn from heart-felt experience. Indeed her mannerisms remind me of a Slovenia woman I once knew, who has passed away... Nina Hoss has played so many sphinx-like ciphers in one-note movies directed by the overrated Christian Petzold, one almost forgets how good she can be.

In fact, all the actors are extraordinary and unforgettable. Manhattan is perhaps the star supporting player; we are treated to the city at its most glamorous and its most grim. Max stays at the Algonquin Hotel even though he is broke; he is above it all, glides along in taxis and airplanes, globe-trots from city to city giving speeches, chasing dreams and women interchangeable to him. In contrast, the ladies who work and pine for him love him deeply and steadfastly. They never forget a thing about him. At the end of the film, Max finally understands this. In a moment of self-recognition even rarer in cinema, he realizes he will never change.

The film begins and ends at JFK. Those of us still keeping the faith remember that Schlondorff's _Homo Faber_ also begins and ends in airports. _Homo Faber_ was his first adaptation of Max Frisch's novels; he showed the Swiss writer a rough cut before the latter's death, and Frisch "loved it." That was also the first "art-house" film I discovered for myself 30 years ago. Watching this extraordinary, deeply felt, lived-in sequel to another work by Frisch felt nothing short of the validation of my movie-going life.

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