Jürgen Prochnow Movies

This uneven science fiction road race combines European motorcross with football. Gus (Karen Allen) is the driver of a behemoth vehicle named Monster. The computer-controlled car runs off course, with Gus being captured and tortured. Before she dies, she turns the driving gloves over to fellow cellmate and former trucker Stump Manchot (Johnny Halladay). Stump agrees to take her place and stops the illegal plans of a fetus-smuggling doctor (Jurgen Pronchow). ~ Dan Pavlides, All Movie Guide

A street-hardened cop softens up after he gets entangled with an 18-year-old but very tough girl who hangs out with other juvenile delinquents in this violent German actioner. Their strange relationship begins when the cop meets her while trying to arrest a group of her friends. During the scuffle, she manages to steal the cop's gun and uses it to pay off a debt. After several chases and near seductions, the cop and the girl hook up, but then the cop finds himself with a difficult decision. ~ Sandra Brennan, All Movie Guide

Murder: By Reason of Insanity was inspired by a disastrous series of events occurring in New York State in 1979. Candice Bergen portrays a Polish immigrant housewife whose husband Jurgen Prochnow has subjected her to years of physical abuse. At first, she tells herself that he is acting out of frustration over his business failures, but the attacks become increasingly life-threatening. Adjudged mentally unbalanced, Prochnow cannot be sent to prison, but instead is checked into a hospital. Thanks to bureaucratic oversights and sheer laxity, Prochnow walks out of the hospital, fully intending to carry out his death threat against his wife. Despite her frenzied phone calls to the authorities, and the many empty restraining orders issued by the courts, Ms. Bergen's ultimate fate is inexorable. Made for television, Murder: By Reason of Insanity has been released to videocassette under the irresponsibly antiseptic title My Sweet Victim. ~ Hal Erickson, All Movie Guide

David Lynch wades through dark waters in his adaptation of Frank Herbert's cult science fiction novel. In condensing Herbert's rambling and complex book by eliminating characters and compacting events, Lynch succeeds in rendering the story incomprehensible to those unfamiliar with the novel and making the film look like a sketchy greatest hits collection of the book for Herbert fans. The story takes place in the year 10,191. The universe is governed through a system of feudal rule, presided over by Padishah Emperor Shaddam IV (José Ferrer), who appears to take his marching orders from something that resembles a talking vagina. In the kingdom are two rival houses -- the House of Atreides and the House of Harkonnen. Each house is trying to gain dominion over the universe, but that dominion can only be gained by the house that controls the Spice, a special substance that permits the folding of time. The Spice is only available on the desert world of Arrakis, or Dune. Shaddam, tired of the feuding between the two houses, permits the Atreides to take over the Spice production on Dune, while secretly working with the Harkonnens to launch a sneak attack on the Atreides and destroy them. The leader of the Atreides is Duke Leto (Jürgen Prochnow), who rules with the help of his concubine Jessica (Francesca Annis) and son Paul (Kyle MacLachlan). The rival Harkonnens are headed by the pus-oozing degenerate Baron Vladimir Harkonnen (Kenneth McMillan, in a thoroughly through-the-roof performance) and his two unsavory nephews, Rabban (Paul L. Smith) and Feyd (Sting). When his father is murdered by the Harkonnens, Paul escapes to Dune, where he is greeted by the Fremen (the desert dwellers on Dune who prepare the Spice) as the messiah foretold in Fremen legend. Paul assumes the mantle of messiah and leads the Fremen in a revolt that topples the balance of power in the universe. ~ Paul Brenner, All Movie Guide

The Keep is an ambitious visual feast from director Michael Mann, whose previous effort was the moody, stylish Thief, and who would soon produce the quintessential pastel-colored '80s TV series Miami Vice. Adapted from the novel by F. Paul Wilson and set in German-occupied Romania of 1943, the film introduces the invaders to the dark presence lurking within the walls of an ancient fortress in the Carpathian Alps -- a presence which doesn't take well to unwanted guests. When soldiers under the command of Captain Woermann (Jurgen Prochnow) begin to die horribly, he receives the unwanted assistance of Nazi Major Kampffer (Gabriel Byrne), who immediately assumes command and forcibly enlists the aid of the local expert on ancient languages, the Jewish Doctor Theodore Cuza (Ian McKellen), in the translation of the cryptic writings left near a murdered soldier's body. When Cuza comes face-to-face with the Keep's ancient resident -- an ethereal creature which gains strength by draining the life-force from its enemies -- he forms a pact with the creature in the hope that it will escape and destroy Hitler's armies. When a mysterious stranger (Scott Glenn) arrives at the nearby village and befriends Cuza's daughter Eva (Alberta Watson), he reveals the true nature of the beast within the Keep, as well as his intent to destroy it before Cuza can release it -- a task which, if failed, will spell doom for all mankind. The film's fever-dream-logic casts a hypnotic spell -- ably assisted by Tangerine Dream's pulsating, ethereal music (including electronic variations on a theme by Thomas Tallis) -- with a story that seems to play by the Keep's own eerie supernatural rules. ~ Cavett Binion, All Movie Guide

Das Boot is one of the most gripping and authentic war movies ever made. Based on an autobiographical novel by German World War II photographer Lothar-Guenther Buchheim, the film follows the lives of a fearless U-Boat captain (Jurgen Prochnow) and his inexperienced crew as they patrol the Atlantic and Mediterranean in search of Allied vessels, taking turns as hunter and prey. There's very little plot, so the movie's power comes from both its riveting, epic battle scenes and its details of the boring hours spent waiting for orders or signs of the enemy. With the exception of one staunch Hitler Youth lieutenant, none of the crew is particularly loyal to the Nazis, and some are openly hostile toward their Fuhrer; this allows viewer sympathy with the men as they perform their laborious, monotonous duties in cramped, filthy quarters, or await death as depth charges explode all around the sub. Prochnow is excellent as the nerves-of-steel commander, and many of the supporting actors -- all German -- are solid as well, although the characterizations border on war movie clichés (the young crewman who has left behind his pregnant girlfriend, the Chief Engineer whose wife is seriously ill). The real star, however, is cinematographer Jost Vacano, who makes the sub's grimy, claustrophobic interior come to vivid life, as his camera follows the crew through hatches, up ladders, into bunks, and under pipes, creating a palpable sense of claustrophobia while injecting it with movement. Originally edited by writer/director Wolfgang Petersen as both a two-and-a-half hour theatrical release and a six-hour German miniseries, Das Boot was re-released in a restored version in 1997 with nearly one hour of added footage which made it even more suspenseful than before. ~ Don Kaye, All Movie Guide

The doctors and patients in a psychiatric clinic are the subject of this hard-hitting docudrama by director Wilma Kottusch. As Dr. Angela Aschmann (Lisa Kreuzer) is introduced to her new job in the clinic, she slowly learns more about the condition of the patients, how they are treated, and what problems may plague some doctors who have already burnt out a long, long time ago. From helpless patients to overworked personnel, from nurses to a macabre undertaker, the people mixed together at the clinic are carefully delineated. The camera crew and actors actually went to a real psychiatric hospital, not just to film background scenes, but to have the actors engage the patients and staff, improvising dialogue along the way. ~ Eleanor Mannikka, All Movie Guide

The Lost Honor of Katharina Blum marks the directorial debut for actress Margarethe von Trotta, who co-directed the film with her then-husband Volker Schlöndorff. At a costume party, Katharina Blum (Angela Winkler) meets Ludwig Goetten (Jürgen Prochnow ) and spends the night with him. The next morning, he's gone and the police bust into her apartment looking for him with the belief that he is a dangerous terrorist. She is taken into police custody and interrogated by Kommissar Beizmenne (Mario Adorf), who questions her about her every action. Meanwhile, sleazy reporter Werner Toetges (Dieter Laser) makes her story into a scandal in the papers by writing sensational stories about her personal life and portraying her as a criminal in photos. He exaggerates the testimonies of her ex-husband, neighbors, and even her elderly mother who is dying of cancer in an intensive care hospital. With the fear-induced public thinking she is a Communist and terrorist sympathizer, Katharina receives hate mail and personal threats until she is finally driven over the edge. ~ Andrea LeVasseur, All Movie Guide

In this prison drama, Franz Blum (Jurgen Prochnow) goes from being a fairly ordinary middle-class man to a hardened convict. Sent to prison for participating in a bank robbery, he learns how to use blackmail and graft in order to survive the harsh life he encounters "inside." The screenplay was written by ex-prisoner Burkhard Driest (who plays a prison bully in the movie), and is based on his own experiences. ~ Clarke Fountain, All Movie Guide

This dark horror film from director Ulli Lommel was based on the real-life crimes of Fritz Haarman (Kurt Raab), the so-called "Vampire of Dusseldorf" who murdered over 25 young boys, drank their blood, and sold their flesh as black-market meat. Several German films had depicted Haarman's murderous exploits, most notably Fritz Lang's classic M (1931), but Lommel's version is far more graphic and horrifying. Produced by filmmaker Rainer Werner Fassbinder, who also appears, the film revels in pseudo-Expressionistic imagery which sears itself into the viewer's mind. Raab's performance is reminiscent of both Peter Lorre in M and Max Schreck in the vampire classic Nosferatu (1922), but is unforgettable in its own right. A deeply disturbing cinematic poem about the face of true evil, this overlooked classic has developed a cult following, but is not recommended for sensitive viewers. ~ Robert Firsching, All Movie Guide