I think that this is a difficult film to make credibly. If I were involved in this project one of the first things I'd do is look at the work of Leni Riefenstahl (as well as whatever Nazi propaganda footage I could get my hands on) and re-read Paul Fussell's The Great War and Modern Memory. I'd also view, as a start:
Wim Wenders's Wings of Desire;
Carol Reed's The Third Man (and I'd read Graham Greene's treatment);
Truffaut's 400 Blows;
Terry Gilliam's Brazil;
Orson Welles's Citizen Kane;
Bob Fosse's Cabaret (and I'd read the Sally Bowles stories, by Christoper Isherwood, on which the film is based, as well as Stephen Spender's autobiography World Within World, especially the sections on Germany before and after the war);
Alan Pakula's Sophie's Choice (and I'd read Styron's novel);
Wolfgang Becker's recent German comedy Goodbye Lenin;
Vigo's Zero de Conduit;
Lindsay Anderson's If...;
Apocalpse Now Redux (and I'd read Conrad's Heart of Darkness);
Kubrick's Dr. Strangelove;
Kubrick's Clockwork Orange (and I'd read Anthony Burgess's novel).
To evoke what being in a wartime bunker is like, I'd also read Robert Graves's Goodbye to All That and parts of Thomas Pynchon's V, especially the parts about World War I.
I might even have a look at Julian Schnabel's Before Night Falls and Hector Babenco's Kiss of the Spider Woman.
Pontecorvo's The Battle for Algiers has a fair number of black and white claustrophobic scenes, maybe also worth a look.
I think that I'd also look at some of Pasolini's and Fellini's films.
Not that I'd want it to go to anyone's head (
), but there are parts of Northfolk that I'd also be thinking about.
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