Dionysos ANDRONIS on Kaganof’s three hour long epic “NIETZSCHE INNA BABYLON”
With this feature-length film made in 2002, Aryan Kaganof comes back to the same path of poetic and personal reconstitution of History, a path already traced in films such as “Western 4.33” the same year. In this long film there is first of all a popular genre “road-movie” aspect, and then the aspect of an experimental documentary based on the energy of the music. This is why we have two guides for our trip; Djeff Babcock, Kaganof’s fetish actor (Kyodai, The Sequence of the Parallel Bars, Ghost Sonata, Funeral, etc.) and Bill Canell, the famous musical impresario – which is why the musical editing is very powerful, as in all Kaganof’s films.
The film opens on a big motorway strewn with signs for the cars. A sign informs us that we are on the way to Groningen, the town in Northern Germany. Babcock is alone at the beginning and we listen to his monologue as he introduces himself. He plays Friedrich Nietzsche in the film, or rather his contemporary alter ego. This monologue comes back to us later to confuse our leads as to his motivations and actual intentions.
His first visit is to an art gallery in the same town and just afterwards he comes across Bill Canell who lets him get into his Jeep. In parallel action Babcock is travelling by bike in a dreamlike atmosphere which belongs to the second level of the film, that of a slow backward march to the opposite extreme of the first journey. This second level is intentionally very highly-coloured and full of memories, and the central character is Elisabeth, Nietzsche’s old heroine. Other monologues in German begin with quotations about the personality of the philosopher portrayed here. The two main characters get into a lorry to go towards Berlin. On the way they stop at a recording studio to listen to Blixa Bargeld, the famous German musician who already worked with Kaganof in the documentary “Crossing Border Tapes” in 1996. In the 46th minute of the film the second credits appear, with the Funeral March as a sonic accompaniment. The subtitle reads “A Film About Forgiveness and Despair”. It is the triumphant arrival at Berlin, to the sound of the German National Anthem. First they meet Elisabeth, an old woman and Nietzsche’s former lover. A voice-off telephone conversation informs us of this meeting. In the protagonists’ memories she was young and beautiful and naked. They take the lift together, which stops in between storeys as the image freezes. Is this symbolic? Of course it is! It’s a confirmation that Nietzsche’s imaginary resurrection does not really work today.
Nietzsche sets off towards the central train station. A subtitle says “Nietzsche’s Last Journey”. He is alone in front of the signs showing the route to Poland, notably to Treblinka and Auschwitz. Reports with faded images begin, with the deported people from the distant past. A new subtitle reads “Nietzsche and the Jews”, because Aryan Kaganof is also a jew. As we all know, the philosopher was slightly anti-Semitic in his time, but is it important to bring that up today? In parallel, the impresario wanders around a deserted factory.
That evening they meet in a hotel room where Nietzsche kills the impresario with an enormous hammer, raising questions with no answers; “why this murder, for what motive, exactly, which person close to Nietzsche does Bill Canell represent?” We saw a few images anticipating this murder on the screen at the recording studio. The main character from the beginning then finds himself alone walking through Berlin at night, as another inscription reads “Nietzsche in Berlin in the Year 3000”. It is worth noting that Djeff Babcock is also the author of a novel entitled “The Corpse Grinders of Berlin”, brought out by the publishing house that Kaganof runs.
We just want to add a simple interpretation : Today all the healthy antizionists are forced to disappear. We are really sorry to have written the above article but we also want to give an advice to the people to do the opposite than the jew’s Kaganof characters because today the above murder can’t take place in reality inside the zionist status-quo !
Written by Dionysos ANDRONIS, translated from french to english by Lucy Lyall Grant