The kidnapping of Stella (2019), or as I like to call it No evil that does not come well, is a plausible thriller of kidnapping, German nationality, led by the German also Thomas Sieben.
With only three actors on stage, two of them in a state of grace, and with the budget for the reimbursement of a coupon from the ONCE, this tape gives us 89 little minutes of constant tension and intensity. The kidnapping of Stella, premiered on June 29, 2019 during the Filmfest in Munich, to be distributed worldwide by the Netflix platform on July 12, 2019.
The film, is an atypical remake of the excellent British production The Disappearance of Alice Creed (2009), with a Gemma Arterton, fresh out of the Bond oven, James Bond, Quantum of Solace (2008).
And I say atypical, for not using perhaps another expression, since basic and fundamental aspects of the original plot have been eliminated and replaced by others of different draft, which I prefer to ignore, so as not to remove the minimum interest from the tape.
Synopsis of ‘The kidnapping of Stella’
Two ex-convicts, the good one (Max Von der Groeben) and the bad guy (Clemens Schick), decide to abduct Stella (Jella Haase), the daughter of a rich man, not the rich daughter of a rich man, in the middle of the street. to blackmail the father and ask for a ransom for her that will make them get out of misery.
This point is important, why? Because it is the initial 5-7 minutes of the tape where we see how and in what way they plan the whole kidnapping.
And they are masterfully made: stealing the van, changing license plates, buying in the Leroy Merlin or Bricomart shift, everything necessary for the party, soundproofing the dumpy apartment as well as stolen vehicle for kidnapping, etc. And the kidnapping: short, fast, accurate, seen and unseen (including masks).
A disgusting apartment, with more shit than the bulb of a block and less light than a plaster lamp (previously, the windows have been sealed by the raptors with wooden boards). Two ex-convicts acting as kidnappers and a girl tied to a bed and gagged, in a gloomy room, who will begin to live situations of personal degradation. The first: change clothes and relieve themselves.
All very professional; the photos with the newspaper of the day, the pen drives prepared to be sent from another place, multiple mobiles to use and to throw for the non-location and a terrified kidnapped that facilitates the mail and the telephone of the millionaire father.
Kidnapper good / bad kidnapper. I do not know if this dichotomy is well used, but while the former seems insecure, nervous, shy, even being he, who found the perfect girl for kidnapping, the second (major), is the one who directs the baton and marks the game guidelines. Before the first, doubts arise about how far would be willing to go, but unfortunately, before the second, no.
The bad guy returns from the attempt to blackmail the millionaire father, but with a negative response, which leads him to take and record a drastic decision, which I prefer to omit. After the new recording, the bad guy tries again with the father the girl and leaves the apartment, the good and the kidnapped remain, and a mystery that they must solve by watching the movie.
Max Van der Groeben and Clemens Schick, both obviously German, the good and the bad. Well, I’m sorry, dear ones, but the bad one eats the good and the bad that knows me. Max, the good guy, also a doubler and radio announcer, young, but with an extensive professional career, since he started with twelve years in this blessed profession.
It is not that he does it badly in Stella’s kidnapping, which he does not, but there is a step below both the bad kidnapper and the kidnapped kidnapper. He had the opportunity to show off and he has not done it, maybe too much of a good face (even with a mask), maybe too young, or, perhaps too strong a competition, on the other two legs of the tripod.
Clemens, the bad guy, excellently excellent. They endorse his more than 60 films, some as well known as Enemy at the Gates (2001), Casino Royale (2006), or the second part of Largo Winch (2011).
A lot of television training is natural that stands out on the screen; Cold as steel, hard, in a continuous psychological duel with his partner, even more than with the kidnapped, without scruples and without feelings. We can even fall into error, that is a bad that does not fall too badly. Watch out.
Bella, but not sleeper, friend Jella Haase, also German and known in her country for a kind of film trilogy on a comedy drama F * ck you, Goethe (2014-2017), quite successful. Also a lot of television training and from a very young age, including at La Berlinale in 2016, she was honored as a German shooting star.
The girl is fantastic in Stella’s kidnapping. If I do not say it, I bust. It defends itself as a jabata, physically and psychologically. It does not wrinkle in hard scenes or feel softer in those that are not, and I sincerely believe that was the goal.
Tied like the exorcist’s girl and gagged like the beloved Hannibal, with that red jumpsuit, which can even make it fashionable after the movie, he plays his role perfectly. I liked it a lot and as I always tell you, dear ones, actress to follow.
The architect of the kidnapping
Thomas Sieben, German director and screenwriter, with an opera prima to his credit praised by the critics and with some other prize Distanz (2009), kind of psychodrama and a second work with the same reception, a dramatic romance, Staudamm (2013). Well, I have little to say, friends. I have not had the luck or the annoyance of seeing any of the two works cited, so I’m staying with The Kidnapping of Stella.
The beginning of the tape until the kidnapping, which I think are 5-7 minutes are magisterial, the camera rolls with the force of a cyclone, which evidently can not last 89 minutes. The rest, like the beginning (do not get me wrong), is rigid, rough, hard, as if filmed with inquina to produce just the opposite effect. The direction of actors is excellent; they are three tour de force to each one more deceptive, but that allow to guide almost without words the development of the work.