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Katzelmacher (1969)

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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 »

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Title: Katzelmacher (1969)

Katzelmacher (1969) on IMDb 7.1/10

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Cast

Cast overview:
...
Marie
Lilith Ungerer ...
Helga
Rudolf Waldemar Brem ...
Paul
Elga Sorbas ...
Rosy
Doris Mattes ...
Gunda
Irm Hermann ...
Elisabeth
Peter Moland ...
Peter
Hans Hirschmüller ...
Erich
Harry Baer ...
Franz (as Harry Bär)
Hannes Gromball ...
Klaus (as Hannes Grombal)
Katrin Schaake ...
Frau im Restaurant
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Storyline

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 <as9401k56@ntuvax.ntu.ac.sg>

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

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Details

Country:

Language:

Release Date:

22 November 1969 (West Germany)  »

Also Known As:

A digó  »

Box Office

Budget:

DEM 80,000 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Shot in nine days. See more »

Crazy Credits

Es ist besser neue Fehler zu machen, als die alten bis zur allgemeinen Bewußtlosigkeit zu konstituieren (Yaak Karsunke) See more »

Connections

Featured in Die Nacht der Regisseure (1995) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

Fearless and brilliant
10 January 2004 | by (Los Angeles) – See all my reviews

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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