The first shot is a through a doorway as Niko gets
dressed. The camera is still, and the shot immediately brings to mind Woody
Allen, especially as jazz music plays. I’m a big Woody Allen fan, and there are
some other moments early on that make me think of him (and of a couple of other
directors), but fairly soon this film immerses the viewer in its own world, and
comparisons to other filmmakers fall from mind. The woman sits up, asking why
Niko has to leave so early, and suggests they get together that night. He says
he has a lot to do, but is not specific, and his not answering suddenly makes
her realize that he is saying plenty. As she exits the frame, leaving Niko
alone, the jazz tune ends. It’s an excellent introduction to his character.
We then see he’s moved into his own place (though hasn’t
yet unpacked), and has dropped out of law school, and is basically doing
nothing. But sometimes doing nothing is much more difficult than doing
something. When he attempts to order a regular coffee at a coffee shop and then
finds he can’t pay for the expensive coffee, he’s insulted by the woman there,
though in a light, non-aggressive manner. What’s interesting is that throughout
the film he has to deal with authority figures, including his father, and in a
way this coffee shop clerk treats him in a similar fashion.
The first authority figure he must confront is a
psychologist regarding having his driver’s license reinstated. It’s a crazy
scene, and the psychologist strongly reminds me of warped military
authoritarian types who thrive on their tiny power and on showing superiority
however they can. Later Niko must deal with more crazy authority types at the
subway (I had a similar experience once, and totally appreciate this scene).
Niko is alone, and interestingly it is often during these
interactions with other people that he seems the most alone, because the rest
of the world seems needlessly difficult in its attitude toward him. And not
just need people, but machines work against him. The ATM eats his card. There’s
a great moment where he puts his change in the cup of a sleeping homeless guy
before using the ATM, then goes to retrieve his coins after his failure with
the machine.
But through more human interactions, Niko comes to
evaluate himself and his life, particularly in relation to Julika, a girl he
runs into at a restaurant and whom he used to tease in school when they were
children. She says she even tried to kill herself – “No hard feelings” –
and invites him and his friend Matze to her performance art piece that night.
Later Niko says to Julika: “You know when you get the feeling that the
people all around you are kinda strange somehow? But when you think about it a
little longer, you realize it’s not the others but you who’s the problem?”
Sure, that line is a bit on the nose, but it functions to let us know what all
of these interactions and this day in general have led him to consider.
And it all leads to a poignant encounter with an old man
in a bar, a very touching scene with a man who feels more distant and cut off
from the world than Niko does. This movie kind of sneaks up on you, and by the
end you find you’re completely emotionally involved. (It’s interesting too to
learn that Berlin is a city still coming to terms with World War II, as is
shown in a few separate scenes.)
Special Features
This DVD contains quite a lot of bonus material,
including an interview with director Jan Ole Gerster conducted by film critic
Ignatiy Vishnevetsky. Jan Ole Gerster talks about his earlier draft, about a
deleted scene, about the character of Niko, about the use of black and white,
and about the low budget (some actors worked for free). He says, “I had the
idea of some kind of road movie that never leaves Berlin.” He also tells
some interesting anecdotes regarding the film’s music. This interview is
approximately forty minutes, and was conducted in English. By the way, during
the interview both men drink from promotional Music Box Films mugs, one of
which seems very deliberately positioned.
There is also a short feature on the music itself, with
footage of the jazz band as well as the solo pianist performing the music
during the recording process in June, 2012. And there are two deleted scenes.
The first is a brief scene where Niko meets Dr. Motte on the street, and we’re
treated to several takes of it. The second is the scene where Niko meets a boy
at a lake, and it’s this scene that the director speaks of in the interview.
The special features also include a Julika screen test
(the scene where they meet in the restaurant), an improvisation with Tom
Schilling and Marc Hosemann, ten minutes of outtakes, and the theatrical
trailer.
A Coffee In Berlin was released on DVD on October
21, 2014 through Music Box Films. It is presented in German, with optional
English subtitles.
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