Jorgos, an emigrant worker from Greece, joins a group of young people usually hanging around. This foreigner incites hostility and jealousy among them, and he is insulted as a "Communist" ... See full summary »
Jorgos, an emigrant worker from Greece, joins a group of young people usually hanging around. This foreigner incites hostility and jealousy among them, and he is insulted as a "Communist" and "Greek dog". After having been attacked, Jorgos talks to Maria of his wish to return home. Written by
L.H. Wong <firstname.lastname@example.org>
Katzelmacher changed many people's lives when it came out. One has to wonder how exponential the effects were, but the waves that films like this make are usually much greater than most viewers can fathom. (For example, although very few people are familiar with John Cassavetes' Shadows, that film affected Martin Scorsese profoundly.)
In the interesting documentary, I Don't Just Want You To Love Me, Fassbinder claims that he didn't move the camera much during this time for aesthetic reasons. His cinematographer (Dietrich Lohmann), however, says that aesthetics had little to do with it; they simply couldn't easily move the bulky camera and dolly, and they had no budget to rent better equipment.
This film is part of an experimental avalanche, and it is amazing. The particular art house feel is a result of the times, and as Fassbinder moves on it is fascinating to contemplate how he gets his message across, using different styles. He was truly fearless, and all of his stuff is worth serious consideration.
Katzelmacher becomes even more interesting after viewing his later work.
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