Ottilie von Faber-Castell (Kristin Suckow) is the granddaughter of Lothar von Faber (Martin Wuttke)–a famous industrialist, and founder of Eberhard Faber Pencil Company in the late nineteenth and early twentieth centuries in Germany. In his later years he determines that Ottilie should be the heir to his pencil company, and at sixteen years old, she begins preparing to run the company once her grandfather is gone. The business world in the late eighteen hundreds is not kind to women–especially ones who haven’t yet reached adulthood. Ottilie will soon find that her rise to the top of this pencil corporation will not be as easy as it appears, and she will learn a number of lessons along the way.
Ottilie von Faber-Castell is a story of perseverance, love, and tradition wrapped into one, massively long film. Clocking in at just over three hours, so much goes into this film, and it’s easy, especially for those who don’t speak German, to get lost in the shuffle of this incredibly long film.
I think it’s difficult to appeal to the masses when, in the grand scheme of things, the film is about a pencil corporation. I mean, let’s be honest, the concept alone is enough to cause potential viewers to turn up their noses and avoid the film at all costs. However, a surge of emotion–one that is present throughout the entirety of Ottilie von Faber-Castell–appeals to viewers. Suckow is the one tasked with bringing said emotion to the surface, and the seasoned actor does exactly what’s asked of her. From the opening moments of the film I was attached to Ottilie, and I was rooting for her success. This isn’t just because Suckow does a great job of conveying emotion, but also because of how wonderfully the character is written. Writer-director Claudia Garbe (and the writer of the novel–Asta Scheib) script Ottilie in a way that begs viewers for empathy and appreciation. Early in the film it becomes clear that the titular character is humble, honest, and kind–she has a good head on her shoulders, and much like her grandfather, she is headstrong. These traits lend themselves to viewers appreciating what she has to offer, and provides them a reason to care as Ottilie von Faber-Castell plays out.
This film is obviously a time piece, and getting the costumes right allows for a suspension of disbelief and ultimately the believability of what is being told. These costumes are beautiful, and costume designer Petra Kray creates outfits that are a combination of reserved and enticing at the same time. There is a sexual undertone present thorughout Ottilie von Faber-Castell, among numerous individuals, that interestingly resonates with viewers. It appeals to the senses of everyone watching–and Kray finds a way to incorporate that sensuality into the costumes in a unique, fashionable, and appealing way. I’m not a fashionista by any means, but even I know that the costumes scream nineteenth century Germany–and that’s quite an accomplishment.
Much like the costumes, the sets accurately reflect Germany in the nineteenth and twentieth centuries. Viewers feel present in the film and understand the actions of the characters, the plot developments, and just about everything else as a result of the aesthetic of Ottilie von Faber-Castell.
Ottilie von Faber-Castell is slow moving. While it has its moments of show and awe, the majority of the film takes its time to develop–and, with three hours to play with, why wouldn’t it? However, through those three hours, Garbe presents viewers with something interestingly and unexpectedly risque that keeps viewers on their toes. That risque business (if you will), paired with the drama and the powerful writing, is immensely interesting–and the film as a whole piqued my interest throughout, ultimately finding Ottilie von Faber-Castell success.
Directed by Claudia Garbe.
Written by Claudia Garbe & Asta Scheib.
Starring Kristin Suckow, Martin Wuttke, Johannes Zirner, Hannes Wegener, Eleanore Weisgerber, Maren Eggert, Jasmin Schwiers, etc.
⭐⭐⭐⭐⭐⭐⭐⭐/10
Comments