IMDb > Beware of a Holy Whore (1971)
Warnung vor einer heiligen Nutte
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Beware of a Holy Whore (1971) More at IMDbPro »Warnung vor einer heiligen Nutte (original title)

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Overview

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Release Date:
15 July 1983 (Italy) See more »
Genre:
Plot:
On a film set there are two things missing, the film material and the director. So the actors and actresses... See more » | Add synopsis »
User Reviews:
an unusual and perverse fascination abounds in this episodic 'making-but-not-making-of' movie See more (9 total) »

Cast

  (in credits order) (complete, awaiting verification)

Lou Castel ... Jeff, Regisseur

Eddie Constantine ... Er selbst (as Eddi Constantine)
Marquard Bohm ... Ricky, Schauspieler

Hanna Schygulla ... Hanna, Schauspielerin

Rainer Werner Fassbinder ... Sascha, Herstellungsleiter

Margarethe von Trotta ... Babs, Produktionssekretärin (as Margarete von Trotta)
Hannes Fuchs ... David, Regieassistent
Marcella Michelangeli ... Margret
Karl Scheydt ... Manfred, Produzent

Ulli Lommel ... Korbinian, Aufnahmeleiter
Kurt Raab ... Fred, Ausstatter

Herb Andress ... Mark, Coach
Monica Teuber ... Billi, Maskenbildnerin (as Monika Teuber)
Benjamin Lev ... Candy, spanischer Aufnahmeleiter
Gianni Di Luigi ... Mike, Kameramann (as Gianni di Luigi)
Werner Schroeter ... Deiters, Fotograf (as Werner Schröter)
Magdalena Montezuma ... Irm

Rudolf Waldemar Brem ... Oberbeleuchter (as Rudolf-Waldemar Brem)
Thomas Schieder ... Jesus, Beleuchter
Enzo Monteduro
Mario Novelli
Ingrid Caven ... Statistin
Tanja Constantine ... Linda
Katrin Schaake ... Scriptgirl
Achmed Em Bark ... Requisiteur
Michael Fengler ... Spencer
Harry Baer ... Mann der Statistin / David (voice) (as Harry Bär)
Burghard Schlicht ... Peter
Dick Randall ... Portier
Peter Berling
Toni Bianchi ... Blanco
Renato Di Laudadio (as Renato di Laudadio)
Franco Iavarone ... Bill (as Gianni Javarone)
Peter Gauhe ... Journalist
Marcello Zucchè (as Marcello Zucche)
rest of cast listed alphabetically:
Irm Hermann ... Irm (voice) (uncredited)
Volker Lechtenbrink ... Jeff (voice) (uncredited)
Manfred Seipold ... Mark (voice) (uncredited)

Directed by
Rainer Werner Fassbinder 
 
Writing credits
(in alphabetical order)
Rainer Werner Fassbinder 

Produced by
Peter Berling .... executive producer
 
Original Music by
Peer Raben 
 
Cinematography by
Michael Ballhaus 
 
Film Editing by
Thea Eymèsz 
Rainer Werner Fassbinder  (as Franz Walsch)
 
Production Design by
Kurt Raab 
 
Makeup Department
Sybille Danzer .... makeup artist
Maria Mastrocinque .... makeup artist
 
Production Management
Christian Hohoff .... unit manager
Ralph Zucker .... production delegate (as Ralp Zucker)
 
Second Unit Director or Assistant Director
Harry Baer .... assistant director (as Harry Bär)
 
Camera and Electrical Department
Rebato Di Laudadio .... lighting technician
Karl Huber .... assistant camera
Aldo Panzironi .... lighting technician
Enrico Simeone .... lighting technician
Marcello Zucchè .... lighting technician
 
Music Department
Teodoro Cottrau .... composer: song "Santa Lucia"
Mike Kellie .... composer: song "I've Got Enough Heartaches"
Spooky Tooth .... music performers: "I've Got Enough Heartaches" and "Hangman Hang My Shell on a Tree"
 
Other crew
Michael Fengler .... production accountant
Aldo Marchiori .... location assistant
Katrin Schaake .... script
 

Production CompaniesDistributors

Additional Details

Also Known As:
"Warnung vor einer heiligen Nutte" - West Germany (original title)
See more »
Runtime:
103 min
Language:
Color:
Color (Eastmancolor)
Aspect Ratio:
1.33 : 1 See more »
Sound Mix:
Certification:
Germany:16 (re-rating) (2005) | Germany:18 (original rating) (1992) | Portugal:M/16
Company:

Did You Know?

Movie Connections:
Referenced in Mise-en-abyme (2006)See more »
Soundtrack:
SuzanneSee more »

FAQ

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1 out of 1 people found the following review useful.
an unusual and perverse fascination abounds in this episodic 'making-but-not-making-of' movie, 11 October 2008
Author: MisterWhiplash from United States

It's amazing to see that Rainer Werner Fassbinder made this picture when he was just 26 (and, perhaps not too oddly enough due to his reputation, looks all of 41 as the producer Sascha) and it has the kind of sad insight that an older, more experienced director would have. But from everything I've read, he was already this experienced, for better or worse, as the director depicted in the film, Jeff (Lou Castel). Jeff is hot or cold, sometimes both, and can either be sullen or deep in thought or just going completely off on someone and throwing them off the set. In Beyond a Holy Whore he's shooting- or trying or not trying to shoot- some movie starring Eddie Constantine in a role that sickens the veteran French star, and most of the crew and women around him languish in a sea of distilled despair: will the movie actually get finished? Where's the money? Who's sleeping with who? What will be the consequences of this or that?

In terms of the storytelling, I was thrown off at first by Beyond a Holy Whore. It's not really very uniformly put together, and makes 8 1/2 look about as lucid as a Hollywood Golden Age picture by comparison. It's not really dreamlike, but it's got a sad, perverse streak of rotten existentialism going on (or maybe what Fassbinder thinks it is). So, from time to time, it is a little choppy, as one scene goes into the next without much of a sense of where the story is. But after a while I got into the modus operandi; this is by design a story of this man, Jeff, and his producer, Sascha, along with various groupies, gay folk, disgruntled actors, going along with a flow that never seems to be taking any charge. What becomes clear, in segments that occasionally have comedy to them (I just started laughing at one bit where Jeff was losing it and crying hysterically while directing a scene) and sometimes have a lonesomeness as via the characters, is that film-making can be a rotten enterprise when the creative well runs dry.

But it's not just about creativity or lack of inspiration for Fassbinder; it's also a kind of mood that he sets which is important, of going through a similar self-imposed brutality that the director wants depicted in the film within the film. As far as "director self-commentary" pictures go, it's not one of the best ever made. But it is an interesting picture all the same, one that grows on the viewer accepting of its loose form and sad notes - not to mention fine points of irony like the sweet Leonard Cohen songs playing over the decay at the bar.

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