-MONTHLY VHS & DVD REVIEW-
cast: Norman Reedus, André Hennicke, Christian von Aster, Waltraud Witte, and Konstantin Graudus
director: Christian Alvart
127 minutes (18) 2005
widescreen ratio 1.85:1
Tartan DVD Region 2 retail
reviewed by Richard Bowden
Only the second film by the former editor of the legendary German movie fanzine X-TRO,
Antibodies (aka: Antikörper) is an assured and suspenseful work which,
while it willingly acknowledges its obvious indebtedness to Hollywood models, still manages
to strikes out convincingly on its own. Norman Reedus (seen in such American films as
Blade II and
Gossip) shines here as rural policeman Schmizt, haunted by an unsolved paedophile
killing, which hangs over his community, as well as being troubled by the increasingly disturbed
actions of his 13-year-old son. Meanwhile, miles off in the city, police have just caught a
serial killer whose disturbing predations and murderous fantasies soon force Schmizt to face
shocking realities, both within himself and elsewhere.
The most obvious inspiration behind Christian Alvart's film is The Silence Of The Lambs
(1991), to which explicit and grimly affectionate allusion ("What did you expect? Hannibal
Lecter?") is made by killer Gabriel Engel (André Hennicke) early on during his
captivity. Restrained in clinical conditions recalling those featuring in Jonathan Demme's
successful movie, and visited too by a similarly awed and repelled police investigator, Engel
gives a performance less self-conscious than the much-imitated Anthony Hopkins'. And, because
of the latitude of German cinema, where the precise detailing of paedophilic lust rape is more
permissible as a drama demands, it is all the more disturbing in the telling. Watching this
film, where the principal and community are wracked equally with guilt and blame, one easily
recalls that this is the national cinema which earlier produced another monstrous child murderer,
that of Fritz Lang's M,
and indeed a country where communal guilt is never very far below the surface.
Just as Clarice Starling needs her Lecter, so Schmizt needs his Engel to help solve a case.
Having already killed 14, most of whom were young boys, Engel offers his own tantalising clues
and hints as to where the other killer may be found. But, as he says, "Evil... is infectious,"
and soon Schmizt begins to question his own moral certainties, before ultimately basing his judgement
on the only firm foundation he knows - the Old Testament, a process which involves a particularly
painful scene of self mutilation by way of penance, as well as providing doctrinal justification
for the suspenseful final scenes.
Antibodies is a film which never slackens its tension, and which avoids completely the
flabby sentimentalising or overcooked heroics which often mars the American thriller product.
Silence Of The Lambs contained more certainties than we are provided with here. Even
though it gave its audience an extreme form of serial killer, in the form of 'Buffalo Bill',
both flamboyant and rock inspired, it was one which instantly made a stereotype of itself, and
it was this 'respect' of sorts by the audience that the director has said he was keen to avoid.
Like Silence Of The Lambs, Se7en
and the rest of their bloodline, Antibodies parades a notable killer's lair of its own
too, although any artefacts on show are less disturbing than the ultimate meaning of the 14 red
squares drawn by Engel on the wall, or the spare, clean white tiles of his torture room.
At the centre of such films is inevitably a duel between killer and cop, and here the two main
parts receive terrific performances, Hennicke mightily disturbing as the gloating and manipulative
serial killer, writing his books of blood, and Reedus drawn and haunted as the cop on the edge.
As is often the case in this sort of film, a troubled parallel is drawn between them, a process
highlighted in the first instance by a change in Reedus' lovemaking, as one whose psyche is
increasingly affected by the killer's manipulative mind games. And when the depressed cop buys
a suit on impulse, from a shop woman with whom he later sleeps in aggressive fashion, we are
reminded of how moral codes can be put and 'worn' almost as one would clothes, until one "can't
tell where the suit ends and the man begins." But by the same mark are never the less
separate, and can be peeled back to reveal the real creature underneath, or changed at will.
The signs that accompany the disturbed personality are more than just at that mundane level
however. We are reminded in this film of the "'Holy Trinity' of serial killers: playing
with fire, tormenting animals and bed-wetting" - some signs of which the tortured cop
discovers, with growing alarm, occurring within his own family. As mentioned above, a strong
religious thread runs through the film, of which this is only another aspect. Schmizt's family
are devoted church-going folk, and bible quotations play an especial significance and at one
point the cop seeks to make his confession. But God's benign influence is ultimately conspicuous
by its absence rather than influence, the final resolution less due to any supernatural grace
than human doubt. In fact, in interview, director Alvart has expressed his serial killer in
terms of him representing 'total doubt', whilst drawing a parallel between religious fanaticism
and the extremes of criminal behaviour, each with their respective compulsions.
In short, Antibodies is well worth seeking out, as a serial killer film that's both
thought provoking and reasonably gripping - and can also be taken as a possible antidote to
Hannibal Rising. Alvart is clearly a talent to watch (his previous, and first film,
Curiosity And The Cat (1999) was a little seen - at least in the UK - but well thought
of suspense flick, that also featuring corroding suspicion and sadomasochistic overtones). One
hopes to see more of his work. The DVD includes an interview with the director and stars, a
B-roll, trailers and the usual chapters.