Tome's late masterpiece Three clothing saleswomen lure the young philosopher Georg Hermes (named after a Catholic theologian) into symbolic Dionysianism to curb the savagery lurking in modesty. The quiet thoughtfulness of the outsider for the ancient graces who came to him for a lecture on thinking is preferable to the practical companions of the last night: unpredictable adventures on a boat on Schlachtensee are possible with a marginal, where he opens up a universal unity, soldered by love. At first, the philosopher is afraid to dissolve his hermit rod into their horizontal, communicating through the usual politeness, but then decides to test the boundaries of the situation. The knowledge of the human principle did not make the hero more courageous, but mixed: to reconcile the infinite flesh and the eternal soul means for him to “go mad,” building antinomies like “Life belongs to women, death to men.” The eternal apparent naivety of Tome’s films serves as proof of ideas (here Heraclitus): the charmingly helpless favorite of grace meets the time-worn Marquard Bohm, playing in the park on the trumpet, and takes fate into his own hands, entrusting it to others: exchanging dualism for polyvariance in the Saturnalia on the Wannsee.
9 out of 10