The Tin Drum

by Aaron Charny an Jordan Kulm

  

          The Tin Drum focuses on the parts of World War II that are often overlooked in other films. Being a German film, the narrative follows one extraordinary German “child” through his dealings with the ordinary passive middle class under Nazi control. Through the use of somber and often dramatic events, director Volker Schlöndorff conveys the chaotic state of Nazi Germany leading up to the first battles of the war.

            From the beginning our main character Oskar (David Bennen), introduces the troubled state of his family’s social status. When Oskar becomes three, he is given a tin drum which he utilizes to act up and make himself heard. His final defining moment comes out at this time as he consciously decides to cripple himself and physically remain a child forever. This allows Oskar to safely exist amongst the Nazis without fear of being recruited or executed.

          When thinking of a regular anti war film, you might think of the war veteran returning from war and taking action against the war (Born on the Fourth of July), but not this German flick. This film shows us the perspective of an unusual kid, who finds no inspiration becoming a Nazi soldier or being involved with Nazi Germany. So to keep clear of that he decides to stay small and play his tin drum. 

          When you think of a young boy growing up in Nazi Germany, you might assume that this young lad will be excited to fight for his Führer. But not Oskar Matzerath. What made Oskar different? Some of my thoughts might help us understand the reason for Oskar’s unusual behavior. 

          Hold on folks these things aren't just weird; they are Germany wierd: Oskar’s Mother (Angela Winkler) has two lovers. The first one is her cousin Jan (Daniel Olbrychski), whom she is very intimate with and master chef Alfred (Mario Adorf). After mama finds out she is pregnant with a second child, she freaks out and goes on eel and raw fish eating rush. Shortly after her fish eating disorder she commits suicide.

          A little bit later, the little sixteen-year-old Oskar gets a sixteen-year-old normal size babysitter. Oskar develops feelings for the babysitter only to find out she is sleeping with his guardian Alfred. This created a noise for Oskar that he could not listen to, so the sound of drum and his high pitch scream was his replacement. Oskar constantly witnesses death from his mama, to his two papas and the Jewish toy merchant from which he got his tin drum. Hopefully that helps us understand little Oskar.

            Much of the film was well executed for its time. The use of color filters and even green screen technology only helped sell the visuals. Some of the sound design would seem a bit ridiculous by today’s standards, as Oskar has the ability to shatter glass with his screech, but as I said, for a late seventies film it does well in comparison with other films of the era.

            While the underlying tone of the film is the passive middle class, the immediate drama ranges from Oskars pregnant mother killing herself after splurging on fish to sixteen-year-old Oskar impregnating the same 16 year old girl his father is sleeping with. The Tin Drum is riddled with lust and obscene violence from beginning to end while still carrying an impactful statement about Nazi Germany. In fact, the ending is so unfair and ridiculous that it is perhaps the only ending that would do the subject matter justice.