The lord is with his black sheep

The lord is with his black sheep

God be with you, brothers! Give the lord what is the lord’s, but give the people what they crave: fubball? God forbid. Music! That of the black man, who drives himself sitting in the legs. Hallelujah! Give it soul, give it funk, give it rhythm ‘n’ blues. Oh what: give him two of them! Whereby the jailhouse rock always resonates with the gangsters jake and elwood blues. The blues and blood brothers from illinois: they have broken out again on the luisenburg. With them the pleasure of grooving in the middle of a spruce-fringed prairie. What climate change doesn’t make you believe…
Director michael lerchenberg believed in the success and a repetition of it. And rightly so, as the premiere shows: the blues brothers have the well-known mission of saving their orphanage, which is about to be closed down. There is a shortage of $5,000 and an idea to raise the sum – at blod – legally. Reunion of jakes and elwood’s old group to bring in the money. The search for instruments, venues, gonner and, of course, the band members of yesteryear sets the stage for the trail of destruction that the blues brothers are blazing.
There’s no need for any more background story from the film; it is virtually pulverized by pyrotechnics that spit fire and burst phone booths. Interspersed slapstick interludes with borrowings from stan and oli root the gag and gimmick thickened godsend, served with a mass casserole of sometimes sugary performers in unexpected use. Who would have thought that ron williams was a 74 dodge monaco in his former life and can still imitate the engine roar of his former chassis today? The dark-skinned sound studio, at any rate, allows elwood and jake to meet during their chase to simple folding chairs – and yet the illusion matures in the spectator that he is in a driving simulator.
Ron williams is the uncanny star of the performance. Various individuals have found shelter in it, which it spits out bit by bit: its repertoire ranges from the jailer to the reverend cleophus james to the exalted housekeeper. In a cream skirt he changes the pitch for a moment and from an eight-cylinder blues-mobile to a one-cylinder show-conferencier. Hats off to this performance of the 70-year-old! But williams’ appearance as ray charles, whom he personally adores and – pardon the pun – controls blindly, is unsurpassed. While waving a pistol in the air and threatening the stage crew and orchestra, he whizzes under his ray-ban glasses and stomps across the stage like the real godfather of soul, as if a bucket board were sewn into his hawaii shirt.
It is not easy to play against such a stage presence. But the brother actors michael kamp (elwood) and andreas birkner (jake) are, despite all the darkening of the eyes, the other shining lights in a crazy, over-the-top production. With plasticine in their legs and rubber mimics, the duo infernale shovels the fairway for the potpourri of evergreen songs like "everybody needs somebody to love. They don’t just sing about it: they are each a "soul man", their own action flick complete with soundtrack. The tongue-twisting of two tramps with an extremely agile interpretation of (un)rights-consciousness. The consciousness for the right: it plays right into lerchenberg’s concept and into the stucco. Ron williams gives voice to wunsiedel’s protest against the eternalists with the song "der braune dreck muss weg" ("the brown dirt must go"). He had already presented this the previous year and received death threats from the neo-nazi corner for the germ of resistance he had offered. Black humor with serious undertones – even the gentleman clicks his tongue! Hallelujah!

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