Episode 1: Jochen and Marion
It’s a birthday celebration for the family matriarch (Luise Ullrich) as her grandson Jochen (Gottfried John) goes out to buy more champagne for his annoying aunt Klara (Christine Oesterlein) is when he meets Marion (Hanna Schygulla) who is trying to buy pickles from a vending machine. The two immediately fall in love as Jochen introduces her to his family as she would later befriend Jochen’s sister Monika (Renate Roland) who is trying to find a friend to talk to due to her strained marriage to Harald (Kurt Raab). The episode also has Jochen dealing with problems at his job working at a factory making tools where he comes up with a plan that he hopes would help the workers only for their bonuses to be pulled. It all plays into this man falling in love and trying to do good for everyone he works including a middle-aged foreman in Kretzschmer (Victor Curland) who sympathizes with the workers.
Episode 2: Grandma and Gregor
Grandma and her new boyfriend Gregor (Werner Finck) go apartment hunting throughout the city as they discover not just the high prices for the apartments but also places with terrible locations. Upon discovering a place that they feel is suitable for them despite its expensive yet fair price, they see that a local library is shutting down as they decided to turn the place into a kindergarten for the neighborhood children to play despite being unable to get a permit to hold such a place. Yet, it would take mothers from the neighborhood, Jochen, Marion, and several of Jochen’s co-workers to help out. The episode also play into Jochen and Marion’s growing relationship as her little brother Manni (Thorsten Massinger) would attend the kindergarten along with Monika’s daughter Sylvia (Andrea Schober). Another subplot involves Franz (Wolfgang Schenck) trying to become the new full-time foreman with the support of Jochen and other co-workers.
Episode 3: Franz and Ernst
The episode revolves around Franz trying to pass a foreman exam despite the fact that he’s not very good at math and the company has already hired a new foreman from another company in Ernst (Peter Gauhe) despite a promise to Franz that he would get the job if he passed his exam. Jochen and Marion help out as does his fellow co-workers while Jochen’s best friend Manfred (Wolfgang Zerlett) gets to know Ernst as he learns more about him where a stunt to get Ernst fired backfires only for Ernst to take action to the surprise of everyone. The episode also includes a subplot in which Jochen’s father Wolf (Wolfried Lier) is unhappy at how quiet his apartment has been until Grandma comes up with an idea for him to quarrel with someone as things don’t work out.
Episode 4: Harald and Monika.
Gottfried and Marion take a huge step into their relationship though Gottfried’s first encounter with Marion’s mother (Brigitte Mira) is awkward leading to Marion’s mother being disapproving of the relationship. The two discuss the future of their relationship as they go to family and friends for advice as they both make a decision that would impact everyone. The episode also play into the disintegrating relationship between Harald and Monika as the latter turns to Gottfried, Marion, her parents, and her grandmother for help as she wants a divorce but Harald wants custody of their daughter leading to many issues. It would all culminate at a wedding party for Gottfried and Marion where a lot happens including the resolution over Marion and Harald with the unexpected help of Klara.
Episode 5: Irmgard and Rolf.
When news that a new factory is to be built at the other side of town that would force workers to be relocated making things for them including Gottfried difficult just as he and Marion bought a new apartment. It also makes things worse for Marion’s friend/co-worker Irmgard (Irm Hermann) who had just began a relationship with one of Gottfried’s co-workers in Rolf (Rudolf Waldemar Brem) as they met at Gottfried and Marion’s wedding party. Gottfried, Franz, and the other workers come up with a plan they would hope that would benefit them as they turn to the factory’s head manager Dr. Betram (Klaus Lowitsch) who reads their proposals and takes it into consideration. The episode also plays into Manfred’s longing for Monika who embarks into a relationship with a man that is trying to pull her into a scheme. Gottfried and Marion concoct a big plan as it relates to the apartment that Gottfried’s parents would own as a way to plan for their future with Rolf and Irmgard living with them as they would succeed but Marion laments over the role of working people as it relates to everything Gottfried is working for.
The TV miniseries follows the lives of the Epp family as they live in Cologne, West Germany as they deal with many social and political changes that occur in their lives. Yet, for all of the chaos and dysfunction that looms within the family is a lot of love no matter how much they annoy each other sometimes. Even as various individuals in the family would embark their own lives with Gottfried and Marion being in the center along with Gottfried’s grandmother and her boyfriend Gregor being this support system for Gottfried, Monika, and Marion. Even as Marion’s younger brother Manni and Monika’s daughter Sylvia become friends at the kindergarten that Grandma and Gregor would run. Rainer Werner Fassbinder’s script play into the many schematics that would occur throughout the family as well as the people that surround them including Gottfried’s co-workers who often help out with Gottfried also helping them out as well.
Fassbinder’s direction is engaging for the way he portrays the life of a working-class family in Cologne as each episode opens with the notable locations of the city and the closing shot would be of a factory next to a canal as a canal boat would pass by. The city would be a key character in the film with Fassbinder using certain locations and such to play into this world that these characters live in as it is this world that is vibrant for many involved despite the fact that there’s also things that the working class doesn’t have. While there are some wide shots to play into some of the locations, much of Fassbinder’s direction remains intimate with its usage of close-ups and medium shots. Even in scenes where conversations occur as he would pan the camera from one area to another or to use a dolly-tracking shot to circle around a table. Yet, Fassbinder would also play into this world that is the factory that would include bits such as a wide shot of all of the men showering with glimpses of full-frontal nudity along with other quirks that add to miniseries relating to humor and drama.
Fassbinder also plays into the family dynamic as Wolf always likes to get into arguments and such with his wife Kathe (Anita Bucher) always trying to get him to calm down and make him see reason. Yet, whenever there’s a party and he’s drunk. He is this jovial and lively person that wants to dance with every woman in the party but also be extremely loving towards Kathe as it plays into a man who has a hard time dealing with reality unless he gets drunk and not worry too much. Fassbinder also play into a lot of things such as the fact that Grandma and Gregor likes to eat at a restaurant surrounded by pet birds while Gottfried and Marion often hang out at certain places they like with American and British music in the background. Fassbinder maintains this atmosphere that does feel loose but also has this element of socialist ideals in the way Gottfried, Marion, Grandma, and Gregor approach things in wanting to help people though it is about getting paid fairly for Gottfried and Marion while Grandma and Marion want to help out. The series’ ending at five episodes, instead of the original eight that Fassbinder had intended to, is about everything Gottfried and Marion had worked for but also this realization into the way the world works with Grandma and Gregor seeing a hopeful world for everyone around them. Overall, Fassbinder crafts a heartfelt and whimsical film about the life of a working class family in Cologne, West Germany.
Cinematographer Dietrich Lohmann does brilliant work with the film’s cinematography with its emphasis on low-key yet colorful natural lighting for some of the interiors along with the usage of available light for some exterior scenes at night. Editor Marie Anne Gerhardt does excellent work with the editing with its approach to jump-cuts as well as some straight cuts for some dramatic and humorous moments. Production designers Manfred Lutz, Kurt Raab, and costume designer Gisela Rocken do amazing work with the look of the homes that the characters live in as well as the office that Marion works at with Irmgard as well as the factory that Jochen works at and the kindergarten that Grandma and Gregor run with Rocken creating some unique clothing of the times including some of the dresses that Marion and Monika wear.
The sound work of Gerhardt Trampert is superb for its natural approach to sound as it plays to everything that is happening as well as some unique sound effects that add to the film’s humor and drama. The music by Jean Gepoint is wonderful for its playful score with its usage of woodwinds and folk instruments as it play into this working class environment these characters live in with a soundtrack that includes various German pop tunes of the times as well as music from Janis Joplin, Gilbert O’Sullivan, Neil Young, Leonard Cohen, Ennio Morricone, Spooky Tooth, the Drifters, Elvis Presley, Little Richard, the Rolling Stones, Paul Anka, the Everly Brothers, Bobby Darin, Paul Anka, and the Velvet Underground .
The film’s marvelous cast feature some notable small roles and appearances from Eva Mattes as a café waitress, Ulli Lommel as Marion’s ex-boyfriend Peter, Margit Carstensen as a woman who used to run the library that would become the kindergarten that Grandma and Gregor would run, Klaus Lowitsch as the factory manager Dr. Betram who is willing to listen to the workers for their demands knowing what good could come from it, Brigitte Mira as Marion’s mother who doesn’t approve of Gottfried at first until she gets to know him and his family, Ruth Drexel as Franz’s wife, Katrin Schaake as a landlady, Christine Oesterlein as the bourgeois aunt Klara who is a drama queen to the family, and Hans Gromball as a man Monika meets after her divorce in the fifth episode who tries to get her and Grandma into a money investment that Grandma is suspicious about. In the roles of various co-workers that Jochen works with in the factory include Victor Curland as the old foreman Kretzschmer as a man that everyone likes, Rainer Hauer as supervisor Gross, Karl Scheydt as Peter, Grigorios Karipidis as the Italian immigrant Giuseppe, Peter Gauhe as Kretzschmer’s replacement Ernst who didn’t want the job as he would help Franz in getting the job, Hans Hirschmuller as Jurgen, Herb Andress as the often cynical Rudiger who dislikes Giuseppe because he’s a foreigner, El Hedi ben Salem as another immigrant worker in Arbeiter, and Rudolf Waldemar Brem as Rolf whom Irmgard would meet at a party and fall for.
Wolfgang Schenck is terrific as Franz as a kindly man whom the workers like as they vouch for him as a foreman despite his poor math until Ernst helps him. Andrea Schober and Thorsten Massinger are superb in their respective roles as Monika/Harald’s daughter Sylvia and Marion’s younger brother Manni as two adolescent kids who befriend each other at Grandma and Gregor’s kindergarten with the latter helping the former over her issues with her dad. Wolfgang Zerlett is fantastic as Manfred as Jochen’s best friend who often pines for Monika as well as be a friend to the family. Kurt Raab is excellent as Sylvia’s father/Monika’s husband Harald as a man that is all about discipline and order as he is also cruel while Renate Roland is brilliant as Monika as a woman eager to have some freedom in her life but also some happiness in her life while finding a friend in Marion. Irm Hermann is amazing as Marion’s best friend/co-worker Irmgard as a woman who is quite cynical at times yet finds herself feeling happier upon meeting Rolf.
Anita Bucher and Wolfried Lier are incredible in their respective roles as Jochen and Monika’s parents in Kathe and Wolf with the former as this woman who is trying to keep things calm and be supportive as well as be calm towards the latter who is often frustrated with the world yet is a far kinder person when he gets drunk. Werner Finck ad Luise Ulrich are great in their respective roles as Gregor and Grandma as the former is a widower who falls for Grandma and helps out her in her ideas while the latter is this energetic slice of life who has ideas while is also full of love in the people she helps out as she is a major standout of the film. Hanna Schygulla is radiant as Marion as a young woman who works for a newspaper as she falls for Jochen while is also a woman with her own mind as she helps out Jochen’s friends and family. Finally there’s Gottfried John in a phenomenal performance as Jochen Epp as young man who works in a factory as he does what he can to help out his co-workers while also falling in love with Marion as he starts to think about a life of his own while dealing with the dysfunction within the family.
Acht Stunden sind kein Tag is a tremendous TV miniseries from Rainer Werner Fassbinder. Featuring a great ensemble cast, a compelling story that explores a family dealing with many life changes, lovely visuals, and a fantastic music soundtrack. It is a TV miniseries that follows the life of a family as well as explore the ideas of a socialist world clashing with ideas of capitalism. In the end, Acht Stunden sind kein Tag is a spectacular TV miniseries from Rainer Werner Fassbinder.
Rainer Werner Fassbinder Films: Love is Colder Than Death - (Katzelmacher) - (Why Does Herr R. Run Amok?) - (Rio das Mortes) - (The American Soldier) - (Whity) - (Beware of a Holy Whore) – The Merchant of Four Seasons - The Bitter Tears of Petra von Kant - (Jailbait) - World on a Wire - Ali: Fear Eats the Soul - (Martha (1974 film)) - (Effi Briest) - (Fox and His Friends) - (Mother Kuster’s Trip to Heaven) – (I Only Want You to Love Me) – Satan's Brew - (Chinese Roulette) - (Germany in Autumn) - (Despair) - (In a Year of 13 Moons) – The Marriage of Maria Braun - (Third Generation) - Berlin Alexanderplatz - (Lili Marleen) – Lola (1981 film) - Veronika Voss - Querelle
© thevoid99 2023
Set in early 1950s Munich, the film follows a former policeman who had returned from the French Foreign Legion years ago as he struggles with his new life working as a fruit vendor as he laments over his marriage, the disdain he gets from his family, his longing for his former lover, and the state of his own life. It is a film that is a character study of sorts that plays into a man who is likeable and was doing well as a policeman until an incident began this downward spiral as well as being rejected by the love of his life where he would marry someone else and have a child only to treat them horribly. Rainer Werner Fassbinder’s screenplay follows the plight of its protagonist Hans Epp (Hans Hirschmuller) who is first seen arriving from his service for the French Foreign Legion to see his mother (Gusti Kreissl) who isn’t happy that he’s home as she laments over a friend of his who had died and thought he was a better person as it sets the tone for the many hardships, criticism, and chaos that would loom for Hans.
Notably as it shifts to a few years later where Hans is peddling fruit on a cart with his wife Irmgard (Irm Hermann) who is taller and skinnier than him as they struggle to make ends meet as they have a daughter in Renate (Andrea Schober). Still, Hans is struggling to reconnect with his former flame (Ingrid Caven) who is already married and with a life of her own while he still ponders about his own life and how underwhelming it is. Even as he returns drunk as he laments about his past and comes home beating up Irmgard who goes to his mother and sisters where Hans would have a heart attack. Irmgard would reluctantly go back to Hans and help him run his fruit merchant business by getting someone else to do the job since Hans is unable to due to his health. Yet, things become complicated with Hans lamenting once again about his own existence and what he means to the people around him.
Fassbinder’s direction is largely straightforward in terms of its setting and location as it is shot in Munich while it also emphasizes a lot of characteristics similar to the American melodramas of Douglas Sirk. Notably in a scene where Hans goes to his mother’s house to apologize to Irmgard and Renate over what happened as his mother, sisters, his brother-in-law Kurt (Kurt Raab) watch where everyone but his older sister Anna (Hanna Schygulla) watch with disgust as it is the moment where Hans would have his heart attack. Much of Fassbinder’s compositions emphasize on medium shots and close-ups to play into the drama and dark humor while using the camera to play into a man dealing with isolation and resentment. There are also flashbacks that often appear in the film as it play into Hans’ life such as his time with his lover whom he is head over heels for as he has to leave her for military service while it also showcases the incident that got him fired from the police force. The latter of which is among some of the humorous moments of the film.
Also serving as the film’s music composer with arrangements from Peer Raben, Fassbinder aims for a low-key approach to the music as it is largely based on German folk music with Rocco Granata’s song Buona Notte being a key piece of music that is used as it plays into Hans’ nostalgia for a better love life and his feelings for his old lover. The film’s third act play into not just a reunion with an old friend from the Foreign Legion in Harry (Klaus Lowitsch) who would work with Hans and Irmgard as he would bring good fortune for them but Hans suddenly is filled with uncertainty over his own time as a merchant and how much he struggled. Even as it leads to this journey of him trying to find some meaning in his life as a dinner where he’s with his family as it is a discomforting moment because he’s the center of attention and he’s not comfortable with it at all where Renate thought about what her aunt Anna said in a scene during the film’s second act. Overall, Fassbinder crafts a rapturous yet chilling film about a man dealing with his own existence, life choices, and other things that has kept him down into despair.
Cinematographer Dietrich Lohmann does brilliant work with the film’s cinematography as it is largely straightforward for many of the daytime exterior scenes as well as using available and additional lighting for some of the interior scenes at night. Editor Thea Eymesz does excellent work with the editing as it is straightforward while having rhythmic cuts to play into some of the flashbacks as well as some intense moments in the drama. Art director/costume designer Kurt Raab, along with co-costume designer Uta Wilhelm, does fantastic work with the look of the apartment that Hans live with his family as well as the family apartment where Hans’ mother lives in along with the clothes where many of Hans’ family including his mother wear posh-like clothing as opposed to Hans who wears more working-class clothing.
The film’s wonderful ensemble cast feature notable small roles from Rainer Werner Fassbinder as an old friend of Hans whom he eats with at a restaurant where Harry works at, Elga Sorbas as the woman who would get Hans fired from the police force, Michael Fengler as a playboy trying to woo Irmgard when she’s walking home, the trio of Daniel Schmid, Harry Baer, and Marian Seldowsky as a trio of applicants being interviewed by Hans, Mark Bohm as the policeman who catches Hans in a compromising act that would get Hans fired, El Hedi ben Salem as an Arab soldier in a war flashback involving Hans and Harry, Peter Chatel as a doctor who tells Irmgard about the severity of Hans’ heart attack, and Walter Sedlmayr as a fruit cart seller who sells his cart to Irmgard. Karl Scheydt is terrific as a man named Anzell whom Hans hires to sell fruit for them as he was also someone Irmgard was with during Hans’ hospitalization.
Klaus Lowitsch is superb as Harry as an old war buddy of Hans who helps out him out while also being attentive towards Renate. Heide Simon and Kurt Raab are fantastic in their respective role as Hans’ younger sister Heide and her husband Kurt as they’re both critical of him with the latter being arrogant towards since he feels like a bigger success than Hans. Andrea Schober is excellent as Renate as Hans and Irmgard’s daughter who is a young girl just trying to understand what is going on as she also thinks about what her aunt said to her about her father’s issues as it would haunt her late in the film. Ingrid Caven is brilliant as Hans’ former lover as a woman who was the love of his life until he goes to the Foreign Legion only to marry someone else as she also pines for him despite that he’s married as well. Gusti Kreissl is amazing as Hans’ mother who always treats him with disdain and disappointment until he became successful yet is often cold towards him.
Hanna Schygulla is incredible as Hans’ older sister Anna who is the only person in his family who really cared about him despite being cynical around him yet is the one person who understands his issues while also telling Renate about his own plight. Irm Hermann is remarkable as Han’s wife Irmgard who deals with her husband’s cruelty and wild mood swings as she seeks to find happiness for herself only to deal with uncertainty in her desires and doing what is right for Hans. Finally, there’s Hans Hirschmuller in a sensational performance as Hans Epp as a man who tried to do everything right only to be met with disdain, neglect, and disappointment where Hirschmuller brings in the right kind of physicality to his performance but also someone who can be cruel towards those who care about him as it is an immensely riveting performance from Hirschmuller.
Handler der vier Jahreszeiten is a phenomenal film from Rainer Werner Fassbinder that features a great leading performance from Hans Hirschmuller. Along with its ensemble supporting cast, simplistic yet effective visuals, and its study of depression, disappointment, and self-destruction. It is a film that explore a man lamenting over what he doesn’t have and what he’s lost as well as the sense of mistreatment he has endured from those around him. In the end, Handler der vier Jahreszeiten is a sensational film from Rainer Werner Fassbinder.
Rainer Werner Fassbinder Films: Love is Colder than Death - (Katzelmacher) - (Why Does Herr R. Run Amok?) - (Rio das Mortes) - (The American Soldier) - (Whity) - (Beware of a Holy Whore) - The Bitter Tears of Petra von Kant - Eight Hours Don’t Make a Day - (Jailbait) - World on a Wire - Ali: Fear Eats the Soul - (Martha (1974 film)) - (Effi Briest) - (Fox and His Friends) - (Mother Kuster’s Trip to Heaven) – (I Only Want You to Love Me) – Satan's Brew - (Chinese Roulette) - (Germany in Autumn) - (Despair) - (In a Year of 13 Moons) – The Marriage of Maria Braun - (Third Generation) - Berlin Alexanderplatz - (Lili Marleen) – Lola (1981 film) - Veronika Voss - Querelle
© thevoid99 2022
Written and directed by Rainer Werner Fassbinder, Satansbraten (Satan’s Brew) is the story of a revolutionary poet whose life is in a freefall due to debt and lack of inspiration as he borrows money from a nymphomaniac prostitute to find new ideas through the gay underground in West Germany. The film is a study of a man who is trying to re-start his career as a poet as he would explore new cultures as well as base his life on the German poet Stefan George. Starring Kurt Raab, Margit Carstensen, Helen Vita, Volker Spengler, Ingrid Caven, Ulli Lommel, Brigitte Mira, and Marquad Bohm. Satansbraten is an offbeat and whimsical film from Rainer Werner Fassbinder.
The film follows a poet who was once a revered revolutionary as his life is falling apart due to financial ruin and a disintegrating marriage while his relationship with his mistresses and prostitutes haven’t fulfilled him until a source of inspiration has him channel the works of the German poet Stefan George. It is a film that explores a man trying to re-start his career and life as a writer/poet as his life is in a whirlwind as he also wants to create anarchy where a moment of inspiration has him writing a poem yet in the style of Stefan George. Rainer Werner Fassbinder’s screenplay doesn’t have a lot of plot as it’s more of a study of the actions of its protagonist Walter Kranz (Kurt Raab) who lives in an apartment with his wife Luise (Helen Vita) and his mentally-challenged brother Ernst (Volker Spengler) as the latter likes to play with flies and expose his genitals to guests. Kranz has a few mistresses and dalliances with prostitutes in an attempt to find fulfillment yet he is eager to go into the world of crime as an act of defiance due to his writer’s block. His refusal to play into the conventions of society does give him ideas unaware that he’s borrowing heavily from Stefan George whom he would study and be inspired by his own actions.
Fassbinder’s direction does have elements of style in some of the tracking dolly shots he creates for some parts of the film as it is shot largely on location in Munich. The usage of wide and medium shots have Fassbinder capture the world of the bourgeoisie that Kranz wants to be a part of yet is considered too much of a radical to be accepted as he is also a narcissist. Fassbinder also maintains an intimacy of having much of his action take place in rooms with a lot of close-ups and medium shots to play into the drama and humor. Notably when one of Kranz’s devotees in Andree (Margit Carstensen) who is a virginal mistress from the country as she is mistreated by people in Kranz’s circle. Due to the lack of a strong plot and Kranz’s anarchist actions, the film does meander in its pacing at times as it also includes a murder mystery involving Kranz and a prostitute where the gun is missing. Fassbinder also play into some of the fallacies of Kranz’s persona as well as revelations about George as it relates to his exploration of the gay underworld in an attempt to gain more followers in the film’s third act with Andree becoming troubled by Kranz’s fanatical ideas and some revelations about him. Overall, Fassbinder crafts a messy yet wild film about a revolutionary poet trying to restart his career through the works of Stefan George.
Cinematographers Jurgen Jurges and Michael Ballhaus do excellent work with the film’s cinematography as it is largely straightforward to capture the natural look of the interior locations along with the stylish usage of candles for a couple of Kranz’s reading sessions dressed as George. Editor Thea Eymesz does terrific work with the editing as there isn’t a lot of style other than a few rhythmic cuts to play into the humor. Art directors Kurt Raab and Ulrike Bode do amazing work with the look of Kranz’s apartment home and the places he go to with Bode creating some lavish costumes for some of the clothes the women wear as well as a costume that Kranz wears as George. The sound work of Rolf-Peter Notz and Paul Scholer is superb for the way music is presented on location as well as the emphasis on natural sounds for the scenes set in a room or in a certain place. The film’s music by Peer Raben is wonderful for its orchestral score as it has some upbeat themes as well as some somber pieces to play into some of the drama.
The film’s brilliant cast feature some notable small roles from Armin Meier as a gay hustler, Brigitte Mira as an old lady Kranz turns to for money, Ulli Lommel as the private detective Lauf, Katherina Buchhamer as a nymphomaniac lover of Kranz, Y Sa Lo as an Asian lover of Kranz, Marquad Bohm as a friend/husband of one of Kranz’s mistresses who takes a liking towards Andree, Ingrid Caven as a posh lover of Kranz who would also take a liking towards Andree, and Volker Spengler as Kranz’s mentally-challenged brother Ernst who likes to expose himself and play with dead flies. Helen Vita is excellent as Kranz’ wife Luise as a woman who feels unloved and always tending to him as she feels neglected and mistreated to the point that she becomes ill where only Ernst and later Andree takes notice.
Margit Carstensen is amazing as Andree as a woman from the country who is a devotee to Kranz as she does whatever she can to help him despite putting herself in awful situations to the point of abuse as she later have revelations about the man she is devoted to. Finally, there’s Kurt Raab in an incredible performance as Walter Kranz as a revolutionary writer seeking to restart his writing career after some setbacks where Raab brings a lot of energy despite the fact that his character is a fucking asshole who only cares about himself with little regard for those who care about him.
Satansbraten is a stellar though flawed film from Rainer Werner Fassbinder that does feature amazing performances from Kurt Raab and Margit Carstensen. Along with its ensemble cast and offbeat tone, it’s a film that explores a man trying to mirror the ideals of a great German poet unaware of his personal life. While it is messy due to its lack of a strong plot, it is still a fascinating character study that explore a man and his narcissism as he is eager to become great again despite his many faults. In the end, Satansbraten is a superb film from Rainer Werner Fassbinder.
Rainer Werner Fassbinder Films: Love is Colder Than Death - (Katzelmacher) - (Why Does Herr R. Run Amok?) - (Rio das Mortes) - (The American Soldier) - (Whity) - (Beware of a Holy Whore) - The Merchant of Four Seasons - The Bitter Tears of Petra von Kant - Eight Hours Don’t Make a Day - (Jailbait) - World on a Wire - Ali: Fear Eats the Soul - (Martha (1974 film)) - (Effi Briest) - (Fox and His Friends) - (Mother Kuster’s Trip to Heaven) – (I Only Want You to Love Me) - (Chinese Roulette) - (Germany in Autumn) - (Despair) - (In a Year of 13 Moons) - The Marriage of Maria Braun - (Third Generation) - Berlin Alexanderplatz - (Lili Marleen) - Lola (1981 film) - Veronika Voss – Querelle
© thevoid99 2020
