In the restorative racism drama, the Fried-Chicken-scene as a turning point in the reconciliation between white and African-American protagonists with amazing tenacity. Thirty years ago, it is now that the Southern Lady in “driving Miss Daisy” in accordance with the instructions of your meek driver, Hoke tents, a couple of chicken thighs in the pan fry. After that, their relationship looked a little less asymmetrical and Miss Daisy explained by Morgan Freeman played a Chauffeur with trutschigem Pride: “Now we can both make our Fried Chicken!”

A similar Moment was repeated in 2011 in the award-winning disney film “The Help,” in which a young journalist in the early sixties for your book, researched the life stories of female black domestic workers in the southern States. Out of enthusiasm for the crispy deep-Fried is the only decent “Ma’am” to the white fiends, even to Minny at the kitchen table.

Peter Farrellys “Green Book – A special friendship” is not possible without the racist stereotype. But before the Chicken pens at the end of reconciliation, the Film pulls a few twists and turns. Here is it the easy-to-knit Italian-American Tony “The Lip” Vallelonga (Viggo Mortensen), his employer, the classically-trained concert pianist Dr Don Shirley (Mahershala Ali), in the black food culture of the American South is introduced. The distinguished Shirley, the greasy things are a horror, and rejects the widespread prejudice at the beginning, sharp-tongued, but eventually the taste for it. The “Bonding” is connoted in the “Green Book” double – resulting in a paternalistic gesture doubled behind it. With Tony’s help, the life-style and Status of “his people” alienated African-Americans finally have a good connection to the “authentic” black culture.

You gotta wonder. Since in “The Help,” a white woman departed to emancipate the black housekeepers (which one of them is her Boss’s dog shit in chocolate cake mixes), done in Hollywood, in terms of the representation of People of Color a lot. Not least thanks to the increased presence of African-American film artists. “The Green Book”, from the German distributor as a “feel good movie” was announced, and for the five Oscar-nominated (including best picture), shows how shaky this diversity, process is still. In addition to the James Baldwin film adaptation of “Beale Street” of the “Moonlight”of the Director Barry Jenkins (in the case of this year’s Awards, almost entirely ignored), and “BlacKkKlansman” by Spike Lee, the tell both, though very different, of structural racism, has a “Green Book” as a relic from the past. In the US the current criticism of the Farrellys Film, based on a true story, among other things, the question of the sovereignty of interpretation revolves. Vallelongas son, Nick, was rubbing on the screenplay for sisters, to have the employment relationship, a friendship brought about just telling stories, the Shirley family, the Co-author. She was not even asked.

At first glance, the Green Book, “” a halfway refreshing premise: the inversion of roles, Authority and class relations. Tony is an unemployed bouncer, the reputation of lags to be able to work well with “Trouble”. In the eyes of Shirley so exactly the right man for a job as a driver and planner for a six-week tour through the deep South of the USA. Not a harmless Enterprise in the Jim Crow Era. The eponymous green book is a manual that lists Hotels, roadhouses, and Restaurants, the Black at all.

The Film focuses on Tony as a somewhat limited, but street types in front of marten and good-natured – and as racists. Of course, none of the genuine, red-hot variety; he does not know it simply better. In other words: He is not the farmer who does not eat what he knows. And so the scenario is this down-to-earth Working-Class Americans, throwing in his own four walls, the glasses in the trash, from which previously the black artisans have been drinking, along with Dr. Don Shirley in a turquoise Cadillac. “The Negro Motorist Green Book” is your Route.

With the solemn Pride of a liberal conscience

Farrelly, one half of the directing Duo Peter and Bobby Farrelly (“Dumb and Dumber”, “there’s something about Mary”) uses motifs typical of the road movie, including elements of the Bildungsroman and “Buddy-Comedy”. In a strategic reversal of the White all the clichés of an Italo – American, fulfilled: He is uncouth, Quas blessed and in his hearty impulsiveness “originally”. His black employer, on the other hand, always be controlled, cultivated and arrogant: The interview with Tony, he performs sitting on a throne in his spacious Apartment directly above New York’s Carnegie Hall. The comedic potential is unleashed, especially from the friction of refined and coarse schrötig. That you forget about occasionally, the problems of the script, however, lies less in the verzwirbelten dialogues, the wit, the language, the collision of irreconcilable register, as to Ali’s and Mortensen’s accurate game. It sits down to the smallest Detail.

at The core of “the Green Book” the story of a mutual Re-Education. The lonely, under an identity crisis suffering discrimination at the end of the musician – from the White, and at the same time not “black” enough – is beginning to open: for the Jazz, and Chubby Checker, the black music of the simple people. For Tony, the Trip is as successful anti-racism program. From the daily harassment of police arbitrariness and the rejection in shops apart, Don Shirley, also of the White, the him as an artist, to flatter, more open racism. Once the wardrobe is housed in the broom closet, another Time, and send him to the outhouse. “How does he do that?”, Tony asks.

“the Green Book” describes all this quite sensitively, and in the Impetus of a genuine racism of criticism. But also with the solemn Pride of a liberal conscience. In the politically whipped-up times, the desire for a Christmas tale (may be at the end even literally) to understand. The continuity of this so-wrong Hollywood story depressed.

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Frank Noack

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