6.5/10
262
2 user 11 critic

Baal (1970)

Not Rated | | TV Movie 7 January 1970
Baal explores the cult of the genius, an anti-heroic figure who chooses to be a social outcast and live on the fringe of bourgeois morality.

Writers:

(play), (teleplay)
Reviews
Learn more

People who liked this also liked... 

King of Jazz (1930)
Animation | Comedy | Music
    1 2 3 4 5 6 7 8 9 10 7.4/10 X  

This revue presents its numbers around the orchestra leader Paul Whiteman, besides that it shows in it's final number that the European popular music are the roots of American popular music... See full summary »

Director: John Murray Anderson
Stars: Paul Whiteman, John Boles, Laura La Plante
Young Torless (1966)
Drama
    1 2 3 4 5 6 7 8 9 10 7.3/10 X  

At a boarding school in the pre-war Austro-Hungarian Empire, a pair of students torture one of their fellow classmates, Basini, who has been caught stealing money from one of the two. The ... See full summary »

Director: Volker Schlöndorff
Stars: Mathieu Carrière, Marian Seidowsky, Bernd Tischer
Baal (TV Movie 1982)
Drama | Musical
    1 2 3 4 5 6 7 8 9 10 7/10 X  

Baal is a young amoral rebellious poetic genius who, after a short and eventful life of debauchery, betrayal and violence, is about to cut his ties to the world and meet his doom. A high society party is where the end begins.

Director: Alan Clarke
Stars: David Bowie, Robert Austin, Jonathan Kent
The Tin Drum (1979)
Drama | War
    1 2 3 4 5 6 7 8 9 10 7.6/10 X  

In 1924, Oskar Matzerath is born in the Free City of Danzig. At age three, he falls down a flight of stairs and stops growing. In 1939, World War II breaks out.

Director: Volker Schlöndorff
Stars: David Bennent, Mario Adorf, Angela Winkler
Women in Love (1969)
Drama | Romance
    1 2 3 4 5 6 7 8 9 10 7.6/10 X  

Two best friends fall in love with a pair of women, but the relationships soon go in very different directions.

Director: Ken Russell
Stars: Alan Bates, Oliver Reed, Glenda Jackson
Crime | Drama
    1 2 3 4 5 6 7 8 9 10 7.5/10 X  

A young woman's life is scrutinized by police and tabloid press after she spends the night with a suspected terrorist.

Directors: Volker Schlöndorff, Margarethe von Trotta
Stars: Angela Winkler, Mario Adorf, Dieter Laser
Les Cousins (1959)
Drama
    1 2 3 4 5 6 7 8 9 10 7.4/10 X  

A pair of cousins share a flat, but animosity begins to build between the two when a woman gets involved.

Director: Claude Chabrol
Stars: Gérard Blain, Jean-Claude Brialy, Juliette Mayniel
Meet John Doe (1941)
Certificate: Passed Comedy | Drama | Romance
    1 2 3 4 5 6 7 8 9 10 7.7/10 X  

A man needing money agrees to impersonate a nonexistent person who said he'd be committing suicide as a protest, and a political movement begins.

Director: Frank Capra
Stars: Gary Cooper, Barbara Stanwyck, Edward Arnold
Pandora's Box (1929)
Crime | Drama | Romance
    1 2 3 4 5 6 7 8 9 10 8/10 X  

The rise and inevitable fall of an amoral but naive young woman whose insouciant eroticism inspires lust and violence in those around her.

Director: Georg Wilhelm Pabst
Stars: Louise Brooks, Fritz Kortner, Francis Lederer
Tokyo-Ga (1985)
Documentary
    1 2 3 4 5 6 7 8 9 10 7.3/10 X  

Moved by the work of director Yasujirô Ozu, Wim Wenders travels to Japan in search of the Tokyo seen in Ozu's films.

Director: Wim Wenders
Stars: Chishû Ryû, Werner Herzog, Yûharu Atsuta
Comedy | Drama
    1 2 3 4 5 6 7 8 9 10 6.9/10 X  

On a film set there are two things missing, the film material and the director. So the actors and actresses as well as the crew try to make the best out of the situation. When the director ... See full summary »

Director: Rainer Werner Fassbinder
Stars: Lou Castel, Eddie Constantine, Marquard Bohm
Fear (1954)
Drama
    1 2 3 4 5 6 7 8 9 10 6.6/10 X  

Irene Wagner, the wife of prominent scientist Albert Wagner, finds herself blackmailed about her affair by her lover's jealous ex-girlfriend. The plot, an experiment in causing fear, drives her into a rage.

Director: Roberto Rossellini
Stars: Ingrid Bergman, Mathias Wieman, Renate Mannhardt
Edit

Cast

Cast overview, first billed only:
...
Sigi Graue ...
Ekart
...
Günther Neutze ...
Mech
...
Luise
...
Johannes
Irmgard Paulis ...
Johanna
Wilmut Borell ...
Mjurk
...
Stripperin Sabitka (as Christine Schubert)
Walter Sedlmayr ...
Anwalt Pschierer
...
Kutscher Orgauer
Miriam Spoerri ...
Emilie Mech
...
Penner bei Prozession
Carla Egerer ...
Junges Weib (as Carla Aulaulu)
...
Mann mit Kamm
Edit

Storyline

Baal explores the cult of the genius, an anti-heroic figure who chooses to be a social outcast and live on the fringe of bourgeois morality.

Plot Summary | Add Synopsis

Certificate:

Not Rated | See all certifications »
Edit

Details

Country:

Language:

Release Date:

7 January 1970 (West Germany)  »

Filming Locations:

 »

Company Credits

Show more on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.37 : 1
See  »
Edit

Did You Know?

Trivia

The widow of Bertolt Brecht, Helene Weigel, was extremely unsatisfied with this adaptation. On her behalf, the film was removed from public release. Only in 2011 the granddaughter of Brecht allowed the film to be restored and publicly shown (the restored version was released in 2014). See more »

Connections

Featured in Fassbinder (2015) See more »

Frequently Asked Questions

This FAQ is empty. Add the first question.

User Reviews

Classic of the '60s New German Cinema, free at last
10 November 2014 | by See all my reviews

BAAL has been on my cinema want list for 45 years and yesterday I finally got to see it at Lincoln Center courtesy of the FIlm Society in a restored version dated 2013. It was worth the wait.

Since its production in 1969 I have had the pleasure of meeting star RWF at the 1979 New York Film Festival (his distinctive black & white attire that night reproduced on the cover photo of the brochure accompanying the current FSLC series), and interviewed co-star Margarethe von Trotta twice during the '80s when she visited NYC to promote the debuts of films she had directed. I was a big fan of the New German Cinema movement, seeing as many films as I could by favorites including Wenders, Herzog, RWF, Schlondorff, later MVT, Reinhard Hauff, Georg Moorse, Edgar Reitz, Geissendorfer and Rufolf Thome. BAAL is a significant missing link.

Schlondorff presents his adaptation of a Brecht play as 24 numbered (and distinctly separate) scenes, and uses several other distancing techniques in the Brechtian mode. Real exteriors and interiors are used instead of studio sets, but the theatricality is retained in the physical stagings and (sometimes deadpan) line readings. Hand-held camera-work is frequently (but randomly) distorted by application of Vaseline-smeared lens to create a diffused, haloed image, a technique popularized at the time by the son/father filmmaking team of Jean- Gabriel & Quinto Albicocco in the classic adaptation of LE GRAND MEAULNES.

Though mis-classified as a TV movie by IMDb due to German network funding, BAAL is a cinema film, made and copyrighted in 1969. It does not resemble Schlondorff's work of the period, not his classical YOUNG TORLESS, his "hip" A DEGREE OF MURDER (memorably with Brian Jones score and starring Anita Pallenberg) nor his realistic POOR PEOPLE OF KOMBACH. Instead it is an in-your-face sort of rock opera.

Opening rock ballad utilizes spoken-word-poetry accompanied by hard rock music - ANIMALS' style organ and wailing harmonica, which later appears in the film occasionally to replace the dialog and background sound. (Music score is credited to jazz great Klaus Doldinger, though it doesn't resemble his output.) It has the effect of rap music, which if memory serves hadn't been invented yet (other than precursors like works by The Last Poets and Gil Scott-Heron).

We see Fassbinder as Baal in Scene 1 wandering as the ballad plays, and the relentless hand-held camera circles around him from all angles, occasionally looking first-person skyward. Oft-repeated theme of "The sky above, the mud below" (recall that classic '60s documentary film) is most memorably depicted later in Scene 10 when Von Trotta (as a stage actress named Sophie who Baal picks up for a tryst) writhes around pregnant in the mud by the roadside as Baal typically physically mistreats her and abandons her.

Scene 2 is also quite striking as Baal makes an ass of himself at the buffet of a fancy party celebrating his celebrity as a poet -he insults Mech (Gunther Neutze), a would-be publisher and benefactor, and is comically boorish to all and sundry.

We later meet a sort-of death's figure in Scene 4 as the musician Eckart (striking persona played by Sigi Graue), who pals around with Baal in an obvious love/hate relationship, and always is playing with a tuning fork. They form a trio with Sophie though at one point it is made clear that Baal and Eckart have a homoerotic relationship as well.

The dialog and ballads-over are relentlessly bitter and misanthropic in content, but watching the film is "fun" from a 2014 point-of- view, looking back on the anti-establishment '60s. Games of sadism, bondage and domination, which would figure prominently in Fassbinder's own films, dominate much of the action, often set in beer halls where Baal does his darnedest to pick fights with everyone.

In Scene 4 we meet barmaid Luise, played by future RWF regular Hanna Schygulla; and this is mirrored in Scene 20 when Von Trotta's Sophie returns to the film as Luise's replacement as barmaid with the audience far more surprised to see her resurface than the other characters on screen. Many other Fassbinder troupers appear in small roles, notably Irm Hermann in Scene 6 dominant as usual as a landlady who's upset when Baal is about to service two underage schoolgirl sisters, one of whom looked to me like a very young Eva Mattes, though I could not make a positive ID of her. Gunther Kaufmann, the black actor of innumerable RWF movies, appears as one of the barflies who gets to beat up Baal at one point.

Key subplot has an ill-fated romance of Johannes and 17-year-old Johanna, latter murdered and left in the river by Baal in one of his usual sociopathic escapades.

Though the female characters are mistreated throughout the film, Schlondorff repeatedly zooms in to see their plaintive expressions in closeup (notably Miriam Spoerri as the publisher's wife Emilie and Irmgard Paulis as doomed Johanna), clearly establishing them as sympathetic protagonists rather than mere horror-movie victims.

Film has several false endings (Scenes 22 and 23), played to the hilt for bathos as Baal lies pitifully dying and everyone makes fun of him. The parallels with the real-life RWF's fate as artist and self-destructive personality culminating in his own "death by dissipation" 13 years later make these scenes uncomfortable to watch but quite powerful. And Fassbinder's performance is commanding throughout.


16 of 17 people found this review helpful.  Was this review helpful to you? | Report this
Review this title | See all 2 user reviews »

Contribute to This Page

Watch the Latest Episode of "The IMDb Show"

This week on "The IMDb Show," La La Land producer Jordan Horowitz shares some "secret" information about his new spy-thriller series, "Counterpart." Plus, Kevin Smith lets us in on his favorite Sundance movies of all time.

Watch the show