: Mrs Bormann, train passengers have to make life decisions in a short time. If you weigh the pros and cons, the GDR and the FRG are presented as ambivalent. Was it this approach that attracted you?

: Mrs Bormann, train passengers have to make life decisions in a short time. If you weigh the pros and cons, the GDR and the FRG are presented as ambivalent. Was it this approach that attracted you?

Susanne Bormann: Exactly, yes. I thought it was phenomenal. I felt like something had apparently changed in the GDR narrative. Such material would certainly not have been said so ambiguously 10 or 15 years ago. A lot of things were presented in a one-dimensional way, according to the motto: “Everyone just wants to get away from the GDR”. Or the Saxons or the Thuringians laughed at. This differentiated, ambivalent narration of “3:30” interested me a lot. Even at the casting, the director showed great openness. We talked at length about the RDA, my family history, and the character’s potential. This struggle between the two married couples juxtaposing their life projects. How would life be for us in Germany? And what would life be like in the GDR? We were also allowed to develop a lot and we also incorporated our own texts. It was also important for the director that it was not just an emotional decision, but that there was really a life project that we could contrast with the system: “These are my values ​​and that’s why I’m fighting. I can’t imagine being here to live on the other side. I’m going to betray myself. “These complex relationships of identity and integrity.

Let me ask a hypothetical question: If you were sitting on this train as Marlis Kügler with what you know today, would you have gotten off the train or stayed?

I can’t answer at all. Just like Marlis can’t answer that. There are so many spirits fighting in his chest. There is also this emotional decision for the father to whom she is obligated. A father who suffered in the camp for the communist idea he believed in. She would betray him and stab him in the back if she went west. You can imagine what would have happened then. He would probably be removed from all his functions and would no longer have a good life. As a freedom loving person, like Susanne, I probably would have given up. For the couple in this situation, it is insoluble. That’s why the characters don’t solve it, their kids do. I can fully understand this conflict, this “not being able to make” the decision and this emotional tearing. This decision is so inhumane.

Did the brutality of the wall pose this inhuman question to those around you?

Absoutely. As a teenager, a daughter of my parents’ friends and a few classmates said: “The country needs new men! sprayed on the wall. The whole group was taken into custody for this and most of them were quickly ransomed by the West. But she did not want to leave the GDR and spent six months in prison, after which she had to find out that this story offered her no possibility of training or a career in the GDR. After all, she asked to leave the country and had to leave the country within 24 hours. But in reality, she wanted to stay in the GDR and change something from within. Of course, with today’s knowledge, one could of course have said that this utopia of a system change from within and the idea of ​​a better world in the GDR have failed.

You lived in the GDR for ten years. Was the West dreamed of at family celebrations or were you generally happy?

We couldn’t have family celebrations together because my uncle was out west. He fled very shortly before the wall was built and never dared to go back. He was still afraid that they would put it in a bag and keep it there. Then you could only meet in Prague, for example. They didn’t take us with them. It was still a bit hot. I only saw my uncle after the fall of the Berlin Wall. It was really bad for my dad, he was his only brother. He loved him very much and hardly saw him. My grandfather was always able to travel. He visited him and brought gifts and things with him. Strange: I have this package, I can smell these things that my cousin was wearing. Now I wear these things, but I have never met this girl.

Marlis Kügler would likely become a housewife and mother in Germany. On the other hand, the film features an East German train conductor. Were women more emancipated in the GDR, did they have more options than in the Federal Republic?

It was a whole other normal for women to be employed in the GDR. In the West at that time it was not at all wished, as a woman you had to have the labor contract signed by the man, who had the right to decide whether his wife would go to work or not. As for this point, the emancipation of the other side was already more advanced. Women have defined themselves very differently. There was no distinction between the jobs of women and men, as a woman you had access to all. On the other hand, certain families were sometimes disadvantaged. Children from intellectual homes were sometimes not allowed to study because the children of workers were preferred. Then there were other imbalances and you could still squeeze through the grid at many points, certainly as a woman as well. It was also not the case that you were allowed to choose your profession freely, it was considered what is necessary. As a man, you sometimes had to serve in the military forever just to buy yourself a degree, so to speak. And women were allowed to do housework and babysitting, in addition to their work. Nevertheless, it went without saying that you also work professionally, that you realize yourself and that you do not define yourself only as a housewife.

An eternal question is: “Are westernized filmmakers allowed to tackle the problems of the GDR?” “. So: do you have the right?

Clear. I think it’s really great that this complex story was told with confidence by socialized Western director Ed Herzog. Author Robert Krause, meanwhile, is from the East and you can see it in the book in a positive way. I think it is very important that films are made on this subject and that stories from the GDR are told. If more Westerners dare to do it now, that is fine too. I found Christian Petzold’s “Barbara” to be a very good movie. Maybe that’s when I thought for the first time: “Yes, this is my GDR! I can smell them, I taste them when I watch this movie. It’s amazing, it ‘ is my home. ” I had never had this in any movie before. And Christian Petzold also comes from the west. He put it through very well, in a very nice way. And there too, at 3:30 am, I was able to bring texts and make suggestions: “Hey, it was like that with my family. Maybe we can get something out of it?” The question is how far you can understand this emotional reach, how incredibly painful these stories have been. When you know this conflict and when you know what it is like to look at a map with the certainty that you will never be allowed to see many places. I would be happy if more people from the East make films about the East, because I believe that this pain and the ambivalence of the GDR will then be very present and can very well be imitated and implemented.

Do you remember the shooting of Michael Gwisdek’s first film “Treffen in Travers” in 1987?

Yeah Yeah It was great, a playground for me, the madness! As a child, I was already a big fan of disguise and I was allowed to do it without control in a real movie, I just have to immerse myself in it. I have always acted out my stories and built my own fantastic worlds. And then I stood in the background with wavy hair and was allowed to give it my all – it was awesome! Immediately afterwards, I was able to do another film with Corinna Harfouch, where she also played my mother again. It’s a very good relationship that developed there. A very beautiful experience. (aws)

The TV movie “3h30” will be broadcast as part of the theme evening “60 years of the walls” on Saturday at 8:15 pm on the Erste and is also accessible in the ARD media library.

About the person: Susann Bormann

The actress first appeared on camera in 1987 at the age of eight for the Defa film “Treffen in Travers” and has since appeared in numerous feature films and TV films. It was directed by Andreas Dresendie Anna in “Raus aus der Haut” and the hopeless street girl Patty in “Nachtgestalten”. In 1996, she received the Adolf Grimme Award for the role of Pattie in “Abgefahren”. She has had impressive lead roles as Britta in “Getting to Bed” and as Polly in “Polly Blue Eyes”. In addition, she was able to convince on stage in Nuremberg in the role of Evelyn in “The Measure of Things” by Neil LaBute from 2005 to 2007 and at Schwäbisch Hall in the role of Juliet in “Romeo and Juliet” in 2007/2008 .

Many viewers will surely remember her as the likeable Chief Detective Sandra Reiss from ZDF’s hit series “The Last Trace”. Most recently, she was seen on the big screen again in the children’s film “Amelie rennt”. She was born August 2, 1979 in Kleinmachnow near Berlin, attended school there and graduated from high school in 1999. She lives in Berlin, also plays the piano and sings; she practices fencing as a leisure sport. She is married and has three daughters. (mq)