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Benny's Video

EH: Oh, I think he does, no question. That will be especially apparent when we get to Funny Games, which is nothing if not an exercise in audience torment, but it’s also an element of these earlier films. I should say that Benny’s Video used to be one of my least favorite Haneke films, but I came around on it a little when revisiting it for this conversation. The first time I saw it, I took away the idea, which I saw and see as very simplistic, that Benny’s violence arose entirely from his obsession with violent movies, his fetish for TV and video, as expressed by the fascination with the pig’s death especially. I saw it as essentially a conservative film, like the blame-placing rhetoric about violent video games and Marilyn Manson that inevitably fills the airwaves after any school shooting or other violent act involving young people. In retrospect, although that’s certainly a big part of the film, it’s somewhat more complicated and ambiguous than that. Like The Seventh Continent, this film presents an image of a society in which human relations are deadened, not only by TV but by a whole cultural apparatus that creates distance and disconnection and leads to the disassociated emotions displayed by the characters in this film.

This time around, the key idea I took away from the film was that Haneke’s exploration of desensitization here isn’t limited to the effects of media by any means. What’s most disturbing about this film is that Benny’s violent act—killing a girl (Ingrid Stassner) who he meets and brings to his room while his parents are away—is somehow not a total split in the fabric of society, that life somehow goes on without anything changing. After the murder, Benny eats yoghurt, chats with his friend and makes plans for that night, and goes about cleaning up as if it was just part of his chores, one more activity to keep himself busy for a while, just as the family in The Seventh Continent had enacted their self-destruction with the nonchalance of ordinary household activities.

Benny’s parents (Angela Winkler and Ulrich Mühe), once they learn about the murder, seem concerned simply with allowing life to go on, getting everything back on the track of normality after this violent disjunction. His father, especially, is more concerned, not with the fact of what happened, but with the possible effect it will have on his son’s future, on his career prospects, on his ability to have a comfortable, ordinary bourgeois life of the kind his parents have. The father reacts with efficiency and methodical planning—counting out possible next steps and lists of pros and cons—to the murder, and reserves his anger for insignificant signs like Benny’s haircut.

In this context, Haneke’s desire to disturb and provoke his audience is very understandable. The whole problem that these films are documenting is that people generally aren’t disturbed or shaken up enough by the routine violence that’s all around them. If we’re not disturbed by this film, Haneke would probably say, then we’re uncomfortably close to Benny or the Schobers.


Benny's Video

JB: But isn’t that twisted logic? I recognize that Haneke resorts to extreme violence and graphic imagery as a means of shocking us from our complacency and capturing our complete attention, and I respect that for the most part—Funny Games perhaps excluded, but maybe not—he does so not through volume of atrocity (which he obviously perceives as part of the problem) but through intensity. Still, just as François Truffaut argued that “there’s no such thing as an anti-war film,” because battle scenes in movies are inherently exciting, isn’t there something inherently backward about Haneke thinking he can comment on our desensitization without exacerbating it at the same time? Sure, Haneke’s knack for unsettling audiences is enough to make many of us rethink not just our consumption of graphic media but also our willful disconnection from the real-life suffering around us. But, for most of us, I suspect that experience is temporary, and after the moment of reflection passes the unintended side effect lingers on: once we’ve been forced to endure Haneke’s grim emotions and disturbing images, things that we once thought bleak or disquieting don’t seem quite so bad.

Having said that, and agreeing with your reservations about Haneke’s distasteful penchant for slaughtering animals as a means of artistic expression, I can’t deny that the execution of the pig, as much as it offends me, is effective in underlining our desensitization to human carnage, because even before the gun is raised to the pig’s skull, when all Haneke gives us is a squealing pig being manhandled against its will, it’s a much more discomforting scene than the one later on, when Benny shoots the girl with the same gun. True enough, one of the big reasons the pig scene is so disturbing is because we know that the animal isn’t acting, and by that design we should be more disturbed by the pig scene—because the pig’s abuse is real and the girl’s isn’t. Still, as we squirm through the pig’s trauma, sensing its execution before we have any real reason to, Haneke effectively reminds us: this is what cruelty looks like. And in addition to making us consider how we can so be so nonchalant when faced with images of dramatized human-on-human cruelty at the movies, it’s enough to make one wonder how we can watch the nightly news, so often filled with gruesome images of real atrocity, without curling up into the fetal position. With so much real gruesomeness in the world, the killing of a pig should be the thing that doesn’t faze us. Instead, it’s the other way around.


Benny's Video

EH: Again, the big sticking point for me there is that the killing of the pig is real, which is why it’s more disturbing, so while I see the point you’re making and that Haneke is trying to make, I don’t think it comes across because it rests on a false equation between real animal slaughter and performative, staged human slaughter. This is what cruelty looks like, perhaps, but it’s the director’s cruelty—it’s always struck me as perverse when a filmmaker uses his own killings of animals symbolically in a film to represent cruelty and inhumanity, because the message he’s really sending is not about the characters or the society they live in but about himself. Not to mention, I have to think that the pig slaughter and similar scenes of animals being killed in Haneke’s films are only so disturbing to us because we’re somewhat privileged urban dwellers—it’s hard to imagine a more rural audience being equally upset by something as routine as a pig being killed. (Of course, the urban middle-to-upper-class most likely to be offended by those scenes is precisely Haneke’s target—and his target audience.)

I also see your point about Haneke’s use of violence contributing to our desensitization rather than curing it, and I think it’s a valid criticism. Haneke is walking a fine line in these films, one that I’d argue he crosses especially in Funny Games, and even though most of the human violence in his work occurs offscreen, he continually risks the possibility that his films are simply adding to modernity’s barrage of violent, dehumanizing images rather than offering a tonic.

Maybe that’s why I find Benny’s Video is most effective and interesting when it’s exploring emotional violence rather than physical violence. One of the most compelling scenes is the one where Benny and his mother are watching TV, on vacation while back home Benny’s father is disposing of the corpse. The mother abruptly breaks down, sobbing and moaning, rolling away from her son. Benny reaches out and tries to touch her but she only flinches away, while he ineffectually asks, “what’s wrong?” Of course, that’s the same thing he’d said to the girl he killed after the first time he shot her. These scenes represent the essential human disconnect at the core of this film: Benny and his mother sit apart on the bed, unable to touch or comfort one another, and Benny’s lame attempt to bridge the gap between them totally fails. He just sits there watching TV while she collapses into her private suffering, and there seems to be no empathy in him, no possibility of this mother and son sharing their emotions rather than remaining separated like this.


Benny's Video

JB: Benny’s Video is one of Haneke’s most consistently paced films, and I think the way he captures the girl’s suffering (after the first shot and before the last one) just offscreen might be his best use of a fixed camera. For those reasons especially, I admire Benny’s Video quite a bit. But watching it this time I couldn’t help but see some unfavorable parallels with Lynne Ramsay’s recent We Need to Talk About Kevin. On the positive side, both films provide thought-provoking glimpses of the effect of adolescent crime on the parents of the murderer. But on the negative side, the most glaring similarity between the films is that they leave very little room to see the young murderer as anything more than a psychopath. This is much more exaggerated in Ramsay’s film, but as with the Schobers in The Seventh Continent, Benny’s most descriptive action is one of pure detached destruction, and almost every other scene in the film is designed to underline that detachment.

For me, this is problematic in two ways. First, by ridding Benny of nuance, it’s hard to see him as capable of anything else. And second, building out from that, I think it’s all too easy to make some lazy assumptions about why Benny is the way he is. For example, several reviews I’ve read point out that Benny has, as you put it, an “obsession with violent movies.” But does he? Yes, he obsesses over the pig video specifically. Yes, he goes to the video store often. But the videos he rents and watches are more action oriented than violent—nothing particularly unusual about them. Sure, it’s safe to argue that for Benny, whose room is filled with video equipment, the line between dramatized life and real life has blurred to the point that he can’t differentiate one from the other, but I’m not convinced that has anything to do with the content itself. Rather, I think it has more to do with the behavior, which becomes an indictment of folks who experience the world by sitting in front of a TV. The thing is, I think Haneke invites some of those knee-jerk readings (which, appropriately enough, actually have a lot in common with the “blame-placing rhetoric about violent video games and Marilyn Manson”), because he gives us so little else to cling to, which makes it all too easy to blow the smallest details out of proportion.


Benny's Video

EH: I think that’s right. As I said, the first time I saw Benny’s Video, I thought it was lazily suggesting that watching violent media necessarily leads to real-life violence. And while I found much more to admire in the film this time, a second viewing didn’t entirely erase the suspicion that Haneke is at least skirting around the edges of a very simplistic and reductive reading of how people relate to media. It’s very tempting to draw a straight line in this film from Benny’s consumption of those, as you say, rather typical (and typically dumb) American action movies to his violent behavior and sociopathic detachment. And while I now think that’s a misreading of what Haneke is going for, he opens himself up for that misreading because the film is not nearly clear enough about what its actual stance on media violence is. Haneke is often ambiguous in this fashion, usually for the better, letting viewers make up their own minds about the ideas in his films, but in this case I’d say he leaves so much leeway that it’s easy to come to conclusions that are the opposite of what he intended.

On the other hand, at least some of the film’s contradictions do seem intentional. One interesting thing about Benny’s Video is that it’s an early hint of the rather conflicted feelings that Haneke seems to have about the medium of video in particular. It’s video that desensitizes Benny, numbing his feelings through repeatable images of violence, both real and cinematic. But for Haneke, video is also a record, a form of documentary proof that, properly used, can make it difficult to avoid the truth—an idea he’d take to its logical conclusion many years later in his masterpiece Caché. Towards the end of this film, Haneke shows us a video that Benny had shot of a scene that we’d already seen earlier in the film: the shot from inside Benny’s bedroom, his door slightly ajar, as his parents discuss what they’re planning to do with the girl’s dead body. There’s a crucial difference between the two presentations of this otherwise identical shot: earlier in the film, the parents’ voices were muffled from inside Benny’s room, what they were saying couldn’t be made out at all, but when Benny plays the tape for the police, his video equipment, more sensitive than the human ear, has picked up every word perfectly. There’s a disconnection here, a gap between the reality and the video, with the video actually presenting a heightened and expanded reality, containing more information than what could have been gleaned from actually being in the room at the time the video was shot.

This idea is perhaps related to Haneke’s habit of weaving contemporary news reports into his films. His characters generally take no notice of the continual TV news bulletins about atrocities being committed in foreign lands—genocide in Bosnia in this 1992 film—but the presence of these reports provides important real-world context for Haneke’s ideas. Haneke doesn’t offer any solution for how to get people in a desensitized, apathetic society to pay attention to these video records of horrific violence, but it does seem to be important to him that these records exist. It’s probably notable, then, that his next film, 71 Fragments of a Chronology of Chance, begins with reports about violence in Somalia and Haiti, and ends with some chatter on Michael Jackson’s plans for a “worldwide comeback” tour. This film is in general very interesting to consider in terms of the discussion we’ve been having about causality in Haneke’s work. The film is based on a real incident in which a man opened fire in a bank and killed several people before committing suicide, and Haneke announces that this bloody event is coming in the text at the beginning of the film. The film is then structured around 71 short, clipped scenes from the lives of various random people who will eventually arrive in or around the bank at the time of the killing spree. The unspoken question is: what caused this event? Is it chance, as the title implies? Did everything depicted in this film in some way “cause” the violence? Or is it really impossible to make sense of such an inherently nonsensical act? Whereas cause and effect were problematic in Benny’s Video, here Haneke makes these tricky questions the core of the film—without answering them, of course.


71 Fragments of a Chronology of Chance

JB: For me, 71 Fragments of a Chronology of Chance is one of the least satisfying Haneke films because I think it’s a whole lot of nothing. You wonder if it’s possible to “make sense of such an inherently nonsensical act as the one at the end of this film,” and I say, of course it isn’t—not if you look for the answers in the places Haneke looks. Of those titular 71 fragments, many have no impact on the eventual shootout whatsoever—from the scene in which a man slowly eats his soup dinner, to the one in which a boy steals a comic book, to the one in which an orphan girl asks to see her new room at her foster parents’ house, to the one in which men unload money at a bank, and so on. Mixed within these ultimately meaningless scenes are scenes in which the eventual gunman throws a temper tantrum when he can’t figure out a puzzle, drills himself in table tennis (for almost three exhausting minutes) and gets lectured by his coach. By contrast, sure, those scenes seem as if they must be revealing, but the truth of the matter is that Haneke never looks deep enough for us to know for sure, and so his examination doesn’t feel like an examination at all. It’s like being asked to find a needle in a needle-less haystack.

All of which has the effect of making 71 Fragments seem less like a statement unto itself than a collection of scenes picked up off the cutting room floor and fed back at us through the projector. You hinted at the disconnect between the news footage sequences and the rest of the action, but really none of it feels connected, and it shouldn’t because it isn’t: yes, several of these individuals wind up somehow involved in the tragic event, but only one of those players has a story worth examining—the shooter. Everybody else is just there. Alas, that’s the way I feel about the news footage in this film, too. It reminds us that there is all manner of awfulness all around the world—wars, ethnic cleansing and even a pop music star who can’t keep his genitals to himself—but to what end? Is 71 Fragments merely a reminder that “acts of insanity,” to borrow a phrase from one of the news broadcasts, happen every day around the world? And if so is that a reminder we need? 71 Fragments is considered the third film in Haneke’s glaciation trilogy, but this film isn’t as distinct as the other two. It’s more like the leftovers that Haneke wanted to chew on a little longer before swallowing. Am I missing something?


71 Fragments of a Chronology of Chance

EH: I don’t think this is one of Haneke’s strongest films, either—his later Code Unknown adopts a similar “network narrative” style but does so with more substance and depth—but I do think there’s more to it than you suggest. Its style is different from the other “glaciation” films, but its thematic focus on human disconnection and failures of empathy is very clearly in line with Haneke’s first two features. Whereas you see the scenes that don’t directly deal with the gunman as “meaningless,” I think that’s where the core of the film actually rests.

All three of the films in Haneke’s early trilogy are about the gaps between people, here quite literally depicted as the short black spaces that separate each of these short scenes from one another. There are scenes here that present miniature, densely packed riffs on the disconnections explored at length in the preceding two films. In one scene that’s equal parts darkly humorous and deeply sad, a bank manager gets through most of a transaction with an old man with businesslike efficiency and politeness, slightly distracted from her work, and then as she finishes his transaction, she calls him dad and says she’s busy, that she can’t talk. In another scene, a man suddenly tells his wife that he loves her, and all it does is start a fight, as she gets suspicious and accuses him of being drunk. “I thought it might help,” he says sadly, but as their fight escalates he finally just slaps her before they return to eating in sullen silence.

These scenes certainly don’t have anything to do with the shooting that the film is leading to, at least not directly. In another sense, though, Haneke seems to be suggesting that all of these isolated moments are part of the same problem, symptoms of the same disease, outbursts of emotional violence that are caused by the same kinds of wounds that lead to the physical violence of the film’s climax.


71 Fragments of a Chronology of Chance

JB: I suppose I just don’t find the recipe very daring. Haneke gives us a collection of scenes that show little, explain even less and that don’t really have a point, and he uses them to showcase human disconnection and emotional ambiguity. Well, of course. It’s not that I need every director to go all Fitzcarraldo on us to earn my respect, but this is the kind of filmmaking that the expression “like shooting fish in a barrel” is meant for. Don’t get me wrong: Haneke clearly achieves exactly what he’s going for. I have little doubt about that. So it would be silly to imply that his cinematic approach to 71 Fragments is anything less than successful. But it sure isn’t impressive, and I don’t have a lot of patience for storytellers who underline the unknowability of things by telling us as little as possible. Haneke’s most ardent fans would say I’m oversimplifying, and I understand that, but I’d argue that finding much depth in this film is the result of overcomplication. The benefit of saying very little as an artist is that your fans will rush to ascribe profundity to the vacancies.

As you’ve already indicated, the natural film to talk about next would be Code Unknown, which feels like an unofficial companion piece. But let’s stick with the chronological approach, because I suppose part of my argument against 71 Fragments could also apply to what must be Haneke’s best known (and most notorious) film, Funny Games. The topic of that film isn’t emotional distance (at least not exactly); it’s violence, and specifically violence as entertainment. But much as Haneke “explores” themes of real-world disconnection via dramatic disconnection in 71 Fragments, in Funny Games he examines the extremes of cinematic violence via, you guessed it, extreme cinematic violence. Some might see those as natural approaches. But in some sense Haneke isn’t “exploring” these themes so much as he’s emulating them. It reminds me of that famous Hollywood story about Dustin Hoffman getting all Method-y while preparing for his role in 1976’s Marathon Man by staying up all night and running around to the point of exhaustion, which supposedly prompted a confused Laurence Olivier to quip, “Why not try acting?” Likewise, sometimes I think Haneke gets lost in re-creation, which doesn’t necessarily include investigation.




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