In the anarchic buddy comedy RONNY & KLAID Outtakes remain in the finished film and every pun, no matter how silly, is delivered with fire and enthusiasm by the passionate actors. The result isn’t perfect, but it’s full of sympathy. You can find our criticism below.
The plans are taking shape…
The plot summary
The Berlin buddies Ronny (Franz Dinda) and Khalid (Sahin Eryilmaz), called Klaid, are trying to make ends meet with their neighborhood kiosk. While Ronny falls head over heels in love with the local mafia boss’s daughter, Klaid loses a fortune at his roulette table. The two only have a week to raise the money and pay the gangsters. On a website you read that one in ten Germans is a millionaire. It’s clear: only the next ten Späti customers have to be kidnapped; some millionaire will be there. Sounds like an (almost) perfect plan that the two buddies want to put into action soon. But the random kidnapping of many different people has its pitfalls. And getting close to star director Fatih Akin (as himself) is the least of the problems…
Ronny & Klaid Movie Meaning & ending
At first glance, it seems as if it is German comedy in particular that we don’t need to worry about in this country. Because the reputation of national cinema looks like this: We can do world war dramas and romantic comedies; What is lacking, however, are serious genre contributions – i.e. everything from the world of action, adventure, horror and fantasy cinema, to name just a fraction. At second glance, you notice that the comedy in this country isn’t really that good (= varied). The films by Til Schweiger, Matthias Schweighöfer, Bora Dagtekin and Co. have been at the top of German cinema releases for several years now, but in the end they always offer the same thing: stylish, glossy images, stars and humor somewhere between kissable lips and just below the belt (In plain language: It’s either about relationship nonsense or about who can embarrass themselves best, which doesn’t stop at unpleasant pee-pee humor). Erkan Acar’s “Ronny & Klaid” is a pleasant outlier. Despite the much lower production value, a production history riddled with problems and a much lower budget that the “Snowflake” actor had available for his directorial debut, the end result is much more sincere in its characters and humor than the colleagues mentioned above . You get the feeling that only those gags that the makers themselves considered funny were included here – and this fundamentally likeable silliness is soon transferred to the viewer.
Will Klaid (Sahin Eryilmaz) and Ronny (Franz Dinda) be able to put their plan into action?
You have to imagine this: there are two guys standing with their backs to a wall with kidnapping plans written on it, while one of them tries in vain to throw knives over his back so that they get stuck, and The two main actors Franz Dinda (“The Medicus”) and Sahin Eryilmaz (“Club of the Red Ribbons – How it all began”) simply cannot pull themselves together even after repeated attempts, so that if you look closely you can clearly see how the two are distorted Try to prevent your face from accidentally snorting loudly. In any other film, this scene would have been shot over and over again over several days if necessary before the perfect take would have been achieved (we remember: Stanley Kubrick used a lot for the famous “Here’s Johnny!” scene in “The Shining”) 127 takes and ended up in the Guinness Book of Records). Director Erkan Acar, on the other hand, ultimately left it with significantly fewer attempts and accepted that the lack of perfection in his work would be apparent upon closer inspection. But it is precisely moments like these in which “Ronny & Klaid” goes from being an ambitious, loving work to being a highly passionate work, for which the ensemble is not least responsible. The film was created as a project between friends, but that doesn’t mean that you have to have been there during the filming to find it funny.
But like perhaps only the horror genre, comedy is always heavily dependent on the subjective feelings of the viewer. Not everyone in the audience finds the same thing scary or funny – and so in the case of “Ronny & Klaid” you have to be prepared to be presented with humor like that recently seen (although in an even cruder form) in productions like “ Stupid and dumber” , the “Otto” films or “The Wixxer” one and two. The screenwriters Arend Remmers (“Dream Factory”) and Erkan Acar simply hit their audience with crooked puns or let their characters go from one hair-raising faux pas to the next, so that it can quickly become too much. And yet Franz Dinda and Sahin Eryilmaz in particular deliver these sometimes abstruse and stupid dialogues with such sincere seriousness that the density of gags is still extremely high, even if you can only laugh at every tenth joke. In addition, “Ronny & Klaid” impresses with the absence of all the things that Schweiger, Schweighöfer and Co. use to cook their films into a consistently similar comedy pulp; The romance here unfolds at best on the sidelines, there is no faecal humor at all and instead of making the characters themselves as humorous as possible, Dinda and Eryilmaz act as Ronny and Klaid as characters who can always be taken seriously, which is the balancing act between the outrageous dialogues, their plans and the actually quite makes the serious premise seem all the more difficult, but provides the necessary spice in the film.
Visually and scenically, “Ronny & Klaid” is actually a gangster film, set a hand’s breadth above the underworld of Berlin, where the two clumsy protagonists try their hand at gambling. In his first feature film project, cameraman Julian Landweer creates images that are both dark and flooded with neon lights. Even the shots taken in daylight retain their dark, rough charm. All the main and supporting characters – the cast includes, among others, Fatih Akin (director of “The Golden Glove”) and Xenia Assenza (“The dark valley”) Alexander Schubert (“Forward always!”)Mathis Landwehr (“Immigration Game”) and Laura Berlin (“Immenhof – The Adventure of a Summer”) – their portrayals are entirely in the service of a dark, grim crime thriller, whose captivating tension is consistently broken up again and again by the silliness of the script. “Ronny & Klaid” would probably be best described with the term “silly” anyway, because in the end the buddy comedy is of course pure nonsense. But anyone who can get involved will not only be rewarded with an excellent density of gags, but will also realize that there is umpteen times more passion in a project like this than in a comedy blockbuster that has been carefully calculated from start to finish by the film studio.
Conclusion: You have to like the humor in “Ronny & Klaid”, which consists primarily of slapstick and silly wordplay, because the film consists largely of exactly these components. But director Erkan Acar and his passionate ensemble present all this nonsense with such passion and fun that the end result is simply completely likeable.
“Ronny & Klaid” can be seen in selected USA cinemas from October 10th.