What are some good two minute monologues

With a clear view

His cinema debut was modest: From 1946, the DEFA weekly newsreel "Der Augenzeuge" showed three-minute film recordings of children who had become orphans as a result of the war for several years. With this cinema service, the film company was looking for their parents and relatives. Unadorned, simple and touching in their childlike nature, the girls and boys looked into the camera. Erich Gusko shot many of these subjects in his hometown Dresden, where a DEFA branch was working at the time. As a 16-year-old, he immediately found what he later cultivated in his films and what became his hallmark: clarity of the gaze, concentration on the portrait, all attention focused on the person. He created an optical axis between the human portrait and the viewer - he steered the image through the lens of his camera.

This talent brought him to Potsdam-Babelsberg in 1955, at the DEFA production center. From then on, Gusko became a very busy man: he made over 50 films of all genres, mostly feature films, and worked with all the major directors of this studio. He did not study - his studies formed the practice of filmmaking. And you could always rely on him: dignified camera work, good light anyway, dynamic pans, balance of the picture divisions. And: always the undisguised, respectful look at people. He also mastered the difficult transition from black and white to color (often difficult for cameramen): He demonstrated his strength especially in fairy tale films, such as in "Das Feuerzeug" (1959) or in "Frau Holle" (1963).

He worked calmly and constantly, his way of working always radiated onto the torsion bars. Only once did he get “crazy” - in Egon Günther's now legendary film “The Keys” (1974): A young couple in love (Jutta Hoffmann and Jaecki Schwarz) are on vacation in Krakow and find out how steadfast their love is. Günther improvised a lot of dialogues, the actors gladly took part, but Gusko held back. Then the young woman ends up in the anarchic Juvenalia, the famous wild student carnival. Gusko rushed behind with the camera, let himself be infected by the exuberant ecstasy of life - and started shooting. You can't get enough of the scene - it is one of the most beautiful moments in the film and remained a great moment in his work for Gusko. Likewise, a long monologue by the young woman in the tram: improvised head-on into the camera and thus of a startling credibility. Günther and Gusko had already tried out such a relaxed, frank, improvisational teamwork together with the actors in "The Third" from the previous year.

Quite different and yet again characteristic of Gusko: "Lotte in Weimar" (1975, again with Egon Günther): a seemingly endless tracking shot along Goethe's dinner party, looking at everyone attentively, and the guests looking at the audience. Right in the middle of it all is Jutta Hoffmann. The actress remembered a little silver look while shooting, which made the figure even more lovable - and Gusko shot it with pleasure. In »The Flying Dutchman« (1964, Joachim Herz, a Felsenstein student), Gusko switched sharply between total vision and normal format and achieved a particularly strong visual effect.

Erich Gusko's perhaps best-known work "I am the rabbit" (director: Kurt Maetzig) was banned from the 11th plenum of the SED Central Committee in 1965 as one of twelve films. He also shot Maetzig's last film, "Man against Man" (1976).

Gusko served all genres, and he wasn't afraid to switch between television and cinema. And so you can find both cheeky and avant-garde camera work with him as well as conventional. The art of every cameraman also harbors a secret, a myth, a fairy tale that belongs only to himself.

With »Stein« (1991) Gusko said goodbye to the studio (like his long-term partner Egon Günther) and to his film work. He was sad about it, not bitter. He was pleased that many of his films were broadcast on television from time to time.

Erich Gusko died on October 11th. A memorial service will take place on November 9th at 1.30 p.m. at the New Cemetery in Potsdam.

nd journalism from the left thrives on the commitment of its readers

In view of the experience of the corona pandemic, we have decided to make our journalism permanently freely accessible on our website and thus make it available to everyone who is interested.

As with our print and epaper editions, our work as an author, editor, technician or publishing employee is part of every published article. It is what makes this journalism possible.

Volunteer now with just a few clicks!