"Pink" is a slight, languidly paced modern fairy tale that oh-so-mildly sends up domestic stereotypes.
As smug and superficial as its eponymous heroine, “Pink,” the 31st feature from uber-prolific Teuton helmer-writer Rudolf Thome, is a slight, languidly paced modern fairy tale that oh-so-mildly sends up domestic stereotypes. Resembling an extremely tiresome cartoon brought to life, with humor that’s unlikely to travel, “Pink” seems destined for German-language smallscreens.Like some demented Goldilocks searching for what’s just right, sullen, black-clad punk performance poet Pink (Hannah Herzsprung, “The Reader,” “Four Minutes”) consecutively marries three sappy swains. First hubby is fawning businessman Carlo (Guntram Brattia, a Thome regular), followed quickly by unfaithful publisher Georg (Florian Panzner). Gravitating at last to balding “Mr. Natural” Balthaszar (Cornelius Schwalm), whose dialogue is mostly delivered in irritating little ditties, Pink winds up with a country home, baby and new public persona. As written and directed by Thome, the characters are ciphers who offer no reason to care about them or understand their behavior. Thesps play accordingly, although lithe looker Herzsprung at least gets to wear three attractive wedding gowns. Proficient but rather spare craft contributions refrain from overdoing the notes of magenta and will look fine on the tube.