Representation Of Post-Communist Societies In The Films ‘Sweet Emma, Dear Böbe’ And ‘Goodbye, Lenin!’
The film in comparison, ‘Sweet Emma, Dear Böbe’, was directed by István Szabó in 1992, which unlike ‘Goodbye, Lenin!’, its release was within the formative years of the post-communist states. It is set in Budapest, Hungary during the early stages of implementation of the capitalist system in Central-Eastern Europe. These two young women, Emma and Böbe, are attempting to navigate the new freedoms and responsibilities that they are faced with in a capitalist society. Their previous jobs as Russian teachers become redundant under the new system, and in order to assume a place in the new order they must learn English overnight, only learning one lesson ahead of their students. Through engaging in different relationships and actions, these women experience the ill-effects of their new lives.
These two films depict one of the most defining features of a post-communist nation; the overwhelming sense of instability and confusion. The Western powers were solely invested in bringing about the end of state socialism as the USSR. Its Communist ideology was seen as the enemy, and hence, the spread of the ideology was a threat to Western society.
Yet, as certain Eastern and Central European Countries, such as Hungary and the GDR, were not seen as individual enemies, the Western powers did not invest their time in to ensuring that they transitioned into democratic states. With the fall of the Wall in 1989 and the end of the communist regime, these states were left to establish their new systems without any assistance. Essentially, they were ‘forced to be free’, as democracy was a fundamental requirement for acceptance in to the new international world order.
Under communist rule, aspects of society such as the values and institutions that previously existed, were removed and replaced. This left these societies entering into the post-communist period with a lacking knowledge of their own values and structures. Without both the means and the resources needed to produce a successful process of democratization, it is almost undeniable that these nation-states would be left in an insecure state. Consequently, in majority of post-communist states, there was a presence of high unemployment rates and accordingly, this intensified the feelings of insecurity. Despite its various flaws and oppressive qualities, the communist system did offer a sense of security for its constitutes with very few citizens in these communist nations lacking employment or accommodation.
In ‘Sweet Emma, Dear Böbe’, this overwhelming sense of insecurity is exemplified through the two women’s struggles to secure themselves teaching jobs. Under the communist regime, the women had stable jobs as Russian teachers, guaranteed to them through their positions in the party. Emma and Böbe had moved from rural Hungary to Budapest to join the Communist party as it secured them stable lifestyles with the valued career as a school teacher. Under the regime, professions such as teachers and nurses played crucial roles in society. However, the new free market system did not offer them the same support. These two women become symbolic for the uncertainties and constant variations of this form of economy. Their roles as Russian teachers no longer hold any value within the system. With the lack of occupational and financial support that Communism provided them, they are left with no choice but to live together in a shared room in a dire teacher’s hostel. These core elements in their life being drastically altered, allows for the understanding of the deficient conditions in which the transitory period brought to these nations.
The subtitle of this film is ‘Sketches, nudes’, referring to the menial and degrading activities that the two girls participate in, in order to make a sufficient living. Emma sketches tourists in a square, whereas Böbe, along with other women, auditions for a harem scene in a questionable film, by standing naked and holding up a card with a number on it. Majority of the women present are those poorly-paid or unemployed teachers and nurses. The degradation that these women have subjected themselves to, emphasises how the implementation of capitalism has left these citizens of post-communist nations without the means to support themselves in an ideal form.
Although Szabò’s portrayal of the newly capitalist system is devastatingly negative, Becker portrays the transition more optimistically. ‘Goodbye, Lenin!’ presents both positive and negative aspects of capitalism that have been brought to East Germany. An element of positivity is Ariane’s attitude and willingness to adapt to the new system. She drops out of a Marxist-slanted university course in economics for a job at Burger King. This may be seen as a lapse in quality of life offered to them by the capitalist system, but is presented as an optimistic action for Ariane.
Elements of uncertainty and unstable transitions are also apparent within this film. Alex suggests that the rapid transition into a completely different system has left individuals feeling like “tiny atoms in a huge particle accelerator” Like, ‘Sweet Emma, Dear Böbe’, the changed value of certain professions and the consequent effect this has on individual’s lives can be seen within this film. We are introduced to the character of Dr Klapprath, who was once headmaster and a revered teacher at the school in which Christiane taught. Upon the collapse of Communism, it is evident that his job has become redundant and consequently, he has become an alcoholic recluse. With the character stating that “We were all valuable people”, which demonstrates the security and purpose that the old regime gave to every individual, which has since been stripped away by the capitalist system.
In various scenes of the film, it is evident that East Germany has been unexpectedly absorbed by the capitalist system. This is seen in the mis-en-scene such as when Alex and Lara walk through the lavishly appointed apartment that has been abandoned due to mass exodus to West Germany, or the obscene graffiti present in the once, pristine apartment complex that Christiane lives in. A more prominent example of this phenomenon is seen when Alex and Ariane attempt to convert their East German Marks into Deutsche Marks, the new currency of the unified Germany. At the bank, they are told that they are no longer able to claim this currency, which leads Alex to have an angry confrontation with the teller. This scene emphasises the radical changes, and consequent disarray of those in post-communist countries. The redundancy of 30,000 marks becoming worthless overnight essentially suggesting that their whole lives and work during the communist period had become insignificant and meaningless. It is evident that both of these films allow the audience to understand the difficult transition faced by post-communist nations. Job security and financial situations were drastically altered, and individuals were forced to quickly adapt.
This immense lack of stability and security for these post-communist nation-states saw the emergence of nostalgia for their past conditions under communism. This social and cultural phenomenon is referred to as ‘Ostalgia’, especially in the East German context. It is used to communicate the resistance and failure to accept the current cultural and economic situation that an individual is faced with, and hence, feel nostalgia for the past. Within this context, these individuals look nostalgically at the dismantled world of the socialist East. With the images and metaphors throughout these films depicting the painful transitory period for these citizens, this nostalgia can be identified as an inherent occurrence. It allows the attribution of simplicity and a sense of identity to the lost past, in contrast to a present situation that appears insecure, and even threatening.
In ‘Goodbye, Lenin!’, this phenomenon of longing for certain aspects of the past is clearly an underlying theme of the film. It reinforces the German ‘ostalgie’ through the recreation of an East German society with a heavy emphasis on the cultural elements of the Eastern past. This does not suggest that these individuals felt nostalgia for the whole of the communist regime, but certain aspects of it. Rather in the film, this shown for Christiane’s appreciation for more simplistic elements of GDR life. She is not longing for things such as the Stazi’s oppressive control or particular policies but rather for elements such as East German products such as Mocca Fix or the presence of the ‘Young Pioneers’. These elements represented traditional values, stability and routine. The life that Alex creates for his mother represents the imaginary country of his dreams, the communist nation that Alex wish existed in the place of its reality. This is clearly evident in the film when a Coca-Cola banner appears outside Christiane’s window, and Alex, through forged news reports, creates the idea that this seemingly capitalist company was actually a product of the GDR. This is then furthered when Alex convinces his mother that West Germans are present in East Germany as their socialist leader, Erich Honecker, has ‘allowed’ thousands of West Germans into the country for refuge.
Evidently, the character of Alex experiences ‘Ostalgie’ as a longing for a country that never truly existed. At the end of the film, Alex acknowledges his dedication to ensuring his mother died in a country that she believed in, yet “A country that never existed in that form. ” Alex’s efforts to reconstruct the GDR within the confines of his mother’s bedroom reveals his underlying desire for the way that the transition had occurred. The abruptness of its reality had evoked this craving for a smoother progression, the one in which he was creating for his mother. In a sense, this reflection on the past has allowed Alex to meaningfully navigate the new capitalist system in which he now lives.
Although the phenomenon ‘ostalgie’ most commonly refers to the East German experience succeeding the fall of the wall, these particular feelings of nostalgia can also be said to be present in other post-communist nations. ‘Sweet Emma, Dear Böbe’, showcases these sentiments in a Hungarian context. As previously explored, the situation in post-communist Hungary left various individuals without the agency to meaningfully fulfil their lives.
The relations within the school acts as a symbol for the whole country of Hungary. It depicts suspicion amongst peers, conflict, and an overall sense of insecurity to how the changes of the system will affect them as individuals. Hence, it also allows us to see these feelings of nostalgia, with these teachers demonstrating a keen desire for the former security and mediocrity that the communist regime ensured. They now have no knowledge of the world they live in, and therefore, are cynical about the possibilities that it offers them. This longing for the past system is also furthered through the headmaster, Stefanics, as he clings to his position that he held during the regime, fearful of the change that will ensue if he loses it.
These feelings of nostalgia are also provoked by unfulfilled promises of the democratic system. Emma and Böbe enter the new capitalist regime, with the hopes that it will allow them to ‘live-well’. However, these ideals are not met and the two women resort to the use of their female bodies as a tool to find a resolve. Emma pursues the relationship of the headmaster, who she sees as a way to guarantee her security within this new lifestyle, whilst Böbe knowingly prostitutes herself. Unlike, ‘Goodbye, Lenin!’, an acceptance of the current situation does not allow for a positive outcome. Rather, ultimately, upon being caught for her criminal activity, the film concludes with Böbe taking her own life. Evidently, ‘Sweet Emma, Dear Böbe’ captures the desperation of individuals within post-communist societies as they are being haunted by a feeling of uselessness with the system and longing for a refuge in their past.
Through the representations of post-communist societies in both ‘Goodbye, Lenin’ and ‘Sweet Emma, Dear Böbe’, we are able to understand the tumultuous transition that Central and Eastern European nations faced upon the fall of Communism. The period saw an overwhelming sense of uncertainty, with the security that the Communist regime offered regarding aspects of life such as employment and welfare, being stripped away in an abruptly fast timeframe. In order to cope with the instabilities, individuals within these societies sought to reminisce and long for the previous socialist regime. Evidently, post-communist nations overwhelmingly experienced a peaceful, yet devastating transition into a democratic, free-market society.
