As a cinephile with an affinity for historical epics and a keen eye for directorial duos, I find myself captivated by the ambitious project that is “Hagen.” Having worked extensively in both film and television, directors Stennert and Boss have undeniably faced their fair share of challenges. Balancing the narrative structure for two distinct platforms while maintaining a cohesive storyline was no easy feat, but their ability to find unique solutions speaks volumes about their talent.
For creators Cyrill Boss and Philipp Stennert, Wolfgang Hohlbein’s 1986 hit novel “Hagen von Tronje” presented the perfect source to transform not just into a full-length movie, but also into an extensive six-episode saga.
The story narrates the epic saga of the Nibelungs, focusing on the dragon-slayer Siegfried and the destiny of the Burgundian realm. However, this account offers an alternative viewpoint – that of Hagen von Tronje, the character often portrayed as the villain in the tale, who is depicted here as a mysterious figure with questionable intentions.
In the movie “Hagen,” debuting at the Zurich Film Festival, the lead character, portrayed by Gijs Naber, serves as lord commander under King Gunter of Burgundy (played by Dominic Marcus Singer). It is Hagen’s unwavering sense of duty and strong resolve that keeps the troubled kingdom from falling apart.
A faithful retainer, known for his self-control and reason, Hagen encounters a significant hurdle when the daring, impulsive, and unpredictable Siegfried (Jannis Niewöhner) makes his appearance in Worms, the central city of the Burgundian kingdom, potentially disrupting established order.
In the 1980s, Hohlbein’s novel garnered massive popularity in Germany, as tales about knights and reinterpretations of Germanic legends, like those by Austrian author Auguste Lechner, were generating significant curiosity, according to Boss’s remembrance.
According to Boss, Hohlbein’s tale stood out because he presented a unique twist: instead of narrating the story from the viewpoint of the traditional hero, Siegfried, he chose to tell it through the eyes of the supposed antagonist. This shift in perspective intrigued us as filmmakers and storytellers since we began to ponder what it would be like to tell a tale from the perspective of the villain, which proved to be quite engaging.
According to Stennert, the timeless tale known as the Nibelung saga – a well-known Germanic myth that has been popularized by Richard Wagner’s Ring cycle and serves as a foundation for numerous contemporary fantasy narratives like J.R.R. Tolkien’s “The Lord of the Rings” – still captivates audiences today, remaining just as relevant.
Perhaps the reason we can retell this story in unique ways each generation is because of its complexity and richness. This tale features strong female characters and centers around a family. It’s about the decline and fall of a kingdom, offering numerous themes to interpret. I believe there are many ideas one can associate with this narrative.
It took some time for us to pinpoint our perspective and the central idea within it, but we eventually zeroed in on these contrasting characters. Our focus became this meticulous, devoted servant, versus this free-spirited, unpredictable character. We realized that this dichotomy encapsulates a lot about human behavior and the internal struggles we face daily – the two opposing forces within each of us.
In Hohlbein’s work, a fresh approach presented the chance for film and series makers to delve into previously overlooked parts of the narrative, as Stennert describes, “into aspects of the tale that have been shrouded in darkness for years.” Essentially, they were able to explore questions like, “What was Hagen’s personal journey? What is his untold side of the story?
As a movie critic immersed in the intricate world of filmmaking, I found myself captivated by the dual responsibilities of overseeing both the production of this cinematic masterpiece and its serial counterpart. The majority of our ambitious shots were meticulously crafted within the hallowed halls of Prague’s Barrandov Studios, while other scenes were breathtakingly brought to life in Iceland’s untamed landscapes. This geographically diverse approach undeniably presented a unique set of challenges for the visionary director duo, whose impressive resume includes their collaborative work on the Sky series “Pagan Peak.
According to Stennert, crafting narratives suitable for both a movie and TV series, given their distinct differences, proved to be a significant hurdle.
In our case, we’ve had both movie and TV series encounters. What made it intriguing was that we were working with families, which allowed us to create an ‘ensemble’ for the series and handle a wider range of characters. For the movie, we could zero in on the tension between two specific characters. This approach helped us strike a balance between the narratives. In a film, you have a primary conflict that serves as the core of the story, providing it with structure and a solid foundation for an engaging cinematic experience.
The series centers around the household of King Gunter, providing a closer look at the power struggles and daily life at the Burgundian court.)
“Writing and editing were the biggest challenges,” Stennert adds.
The show presents a unique viewpoint on the story compared to the movie, as it delves deeper into the lives of the royal family, primarily focusing on Gunter’s sister Kriemhild (whom Hagen harbors affection for), his mother Queen Ute, and his brothers Gernot and Giselher.
In contrast to the movie where most characters appear only as supporting figures, they step into the limelight in the series, allowing for a more detailed exploration of their individual narratives, as Boss points out.
You’re in for a treat! If you enjoyed the movie, you’ll find even more depth and understanding in the series. You might even gain a deeper insight into certain characters.
The series and movie work well together, according to Stennert. He explained that the entire project was developed “starting from scratch,” which was the idea behind it.
Collaboratively managing the tasks at hand, Boss and Stennert apportioned the work equally, overseeing and coordinating, as they operated distinct camera crews simultaneously.
Your options are greater,” your boss notes. “In Germany, budgets are often limited and time is always at a premium. For ‘Hagen,’ we had 113 days for filming. While that sounds extensive, for a six-episode series along with additional scenes for the movie version, it wasn’t sufficient. Therefore, if you have the chance to divide your work, you can capture more footage and create more scenes to effectively convey your narrative.
In their extensive hunt for the right fit as Hagen, the directors ultimately discovered the perfect leading actor in Naber. The role demanded an individual who was convincingly strong and formidable as a warrior, yet capable of portraying immense sensitivity and subtle tenderness – qualities that seemed contradictory but which Naber embodied flawlessly. Remarkably, they could not find such a combination elsewhere.
Indeed, the directors were going for the strong and silent type of yesteryear.
Our perception of those tough old-time movie stars from the 60’s and 70’s, such as Lee Marvin and Charles Bronson, was that they were always expressionless and guarded. However, if you truly look into their eyes, you can see a depth of sensitivity and pain that they endured. Gijs captured this perfectly through his subtle eye movements, creating an emotional impact while still portraying a convincing tough guy and soldier.
Made by Constantin Film, the movie titled “Hagen” will debut in German cinemas on October 17th. The series associated with it is set to premiere on RTL+ next year. Fremantle is responsible for distributing both productions outside of German-speaking regions.
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2024-10-03 22:48