Though he never actually worked in Hollywood, Rainer Werner Fassbinder, who died in 1982 at the age of 36, was influenced greatly by Amercian studio films of the 1950s and the convention of...
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Ricky is a cold-blooded U.S. German contract killer. After serving in Viet Nam, he returns to his home town of Munich to eliminate a few problem crooks for three renegade cops. He inspects ... See full summary »
Thomsen presents previously unseen interview footage recorded with Fassbinder throughout their fifteen-year friendship, which spans exactly the length of his career - their first encounter ... See full summary »
Christian Braad Thomsen
Rainer Werner Fassbinder,
An almost accidental romance is kindled between a German woman in her mid-sixties and a Moroccan migrant worker around twenty-five years younger. They abruptly decide to marry, appalling everyone around them.
Rainer Werner Fassbinder
El Hedi ben Salem,
Though he never actually worked in Hollywood, Rainer Werner Fassbinder, who died in 1982 at the age of 36, was influenced greatly by Amercian studio films of the 1950s and the convention of melodrama (the link most often mentioned is Douglas Sirk). With actor-turned-filmmaker Ulli Lommel as host and guide (he appeared in Fassbinder's very first feature, Love Is Colder Than Death, in 1969), documentary filmmaker Robert Fischer conducts a tour of Hollywood today, pausing to chat with cinematographer Michael Ballhaus and actress Hanna Schygulla # both charter members of Fassbinder's tight-knit stock company of technicians and players # as well as Wim Wenders, who found the toehold in the studio system that Fassbinder never had. The proceedings are liberally sprinkled with clips from Fassbinder's films, as well as glimpses of a theater company in Los Angeles that specializes in performing the director's plays. As Fischer makes clear, Fassbinder's influence on Hollywood is not only still ... Written by
In contrast to some of the other users who commented on this film, I thoroughly enjoyed it. From the wonderfully bombastic opening sequence to the film's brilliant closing shot (a fake Fassbinder joins a fake Marilyn and a fake Superman in front of Grauman's Chinese), this is clearly a labor of love. Some of the anecdotes (Wenders barely restraining Fassbinder from beating up Coppola on Oscar night) are hilarious. I had the good fortune to catch this documentary at the Munich Film Festival and can only recommend it.
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