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Die Niklashauser Fart (1970)

Can a small group of people start a proletarian revolution, asks the "Black Monk" in a leather jacket. The medieval shepherd, Hans Boehm, claims to have been called by the Virgin Mary to ... See full summary »
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Cast

Cast overview, first billed only:
Michael König ... Hans Boehm
... Johanna
... Magarethe
Michael Gordon ... Antonio
... Leader of the farmers
... Bishop
Franz Maron ... Magarethe's husband
Walter Sedlmayr ... Pastor
Karl Scheydt ... Niklashausen citizen
Guenther Rupp ... Bishop's advisor (as Günther Rupp)
... Screaming girl
... Helpless girl
Carla Egerer ... Epileptic girl (as Carla Aulaulu)
... Penthesilea
Sigi Graue ... Farmer
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Storyline

Can a small group of people start a proletarian revolution, asks the "Black Monk" in a leather jacket. The medieval shepherd, Hans Boehm, claims to have been called by the Virgin Mary to create a revolt against the church and the landowners. The "Black Monk" suggests that he would have more success if he dressed up Johanna and had her appear as the Virgin Mary. Written by Will Gilbert

Plot Summary | Add Synopsis

Genres:

Drama

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Details

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Release Date:

26 October 1970 (West Germany)  »

Also Known As:

A Viagem a Niklashauer  »

Filming Locations:

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Box Office

Budget:

DEM 550,000 (estimated)
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Sound Mix:

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Aspect Ratio:

1.33 : 1
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Did You Know?

Soundtracks

Untitled Jam
Written by Amon Düül II
Performed by Amon Düül II
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User Reviews

 
Paintings with commentary
17 June 2006 | by See all my reviews

I've always known Fassbinder was a kindred spirit, but after watching his highly political doctrine (hard to even call this a film) Niklashausen, I'm all the more certain. This film would appear to be a mouthpiece for his political views more than any other he made. Multilayered and extremely anti-capitalist (and anti-religious?), this slow-moving, religious fable is hard to watch, but full of inciting ideas. Each scene is set up like a painting and then only slightly changed or expanded upon. Most notably are a murder on the steps to a house and the crucifixion in front of a heap of demolished cars, complete with shirtless boy-choir and mourning onlookers. You can see influence everywhere from Derek Jarman to Peter Greenaway. This is one of the earliest art films of its kind. And it is an art film--a call to arms--. Or not one. Certainly not for someone seeking plot or story, but for sheer imagery and intelligence, it's astounding.


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