The main point of Fox and his Friends seems to be that money corrupts the chances of meaningful human interaction; and the movie has a lot more going for it, there's a deep aesthetic richness, quality of textual reference, and it has the pulse of relationships.
Franz aka Fox is a circus entertainer who wins the lottery and is then fleeced by those whose love he aspires to.
I found myself admiring Fassbinder and Ballhaus' homages to Sternberg, taking the slatted light of Mogador (Morocco - 1930) and pouring colour in, so that the Moroccan street looks like late Bridget Riley. Following on from Welt am draht two years earlier another of Dietrich's iconic moments under Sternberg's gaze is referenced (Dishonored in Welt am draht, Shanghai Express here), pallid mockeries full of weltschmerz (weltschmerz heaped on weltschmerz), a sense that life might be better.
It's quite easy to get carried away with the design, to see the movie as a parade of yellow dresses and peach-coloured flowers. There's a relentless gay aesthetic, for example Eugen, the dandy entrepreneur who grifts fox, has a poster for The Prince of Homburg in his flat, the ambisexual play by high-strung Heinrich von Kleist, whose search for the ideal, seems to govern Eugen's private life. Eugen is an unpleasant man, there's a brilliant shot of him looking through a spyhole, keeping his distance from his waiting lover, coolly observing.
Franz has panic attacks in the movie, a good touch I thought, that's what unrequited love does to you. Aesthetically the best of Fassbinder's movies that I've seen. Gods of the Plague touches it out in terms of successful content.
Franz aka Fox is a circus entertainer who wins the lottery and is then fleeced by those whose love he aspires to.
I found myself admiring Fassbinder and Ballhaus' homages to Sternberg, taking the slatted light of Mogador (Morocco - 1930) and pouring colour in, so that the Moroccan street looks like late Bridget Riley. Following on from Welt am draht two years earlier another of Dietrich's iconic moments under Sternberg's gaze is referenced (Dishonored in Welt am draht, Shanghai Express here), pallid mockeries full of weltschmerz (weltschmerz heaped on weltschmerz), a sense that life might be better.
It's quite easy to get carried away with the design, to see the movie as a parade of yellow dresses and peach-coloured flowers. There's a relentless gay aesthetic, for example Eugen, the dandy entrepreneur who grifts fox, has a poster for The Prince of Homburg in his flat, the ambisexual play by high-strung Heinrich von Kleist, whose search for the ideal, seems to govern Eugen's private life. Eugen is an unpleasant man, there's a brilliant shot of him looking through a spyhole, keeping his distance from his waiting lover, coolly observing.
Franz has panic attacks in the movie, a good touch I thought, that's what unrequited love does to you. Aesthetically the best of Fassbinder's movies that I've seen. Gods of the Plague touches it out in terms of successful content.