The Third Generation

Along with In A Year of 13 Moons, this is the only other Fassbinder film on which the director/writer/producer also served as director of photography. Like that film it features bold striking compositions and rich colours that are perfectly saturated and stylized to the right amount. The Third Generation was made in 1979 two years after the German Autumn, the crackdown of the Baader-Meinhof gang. Despite it's topicality however Fassbinder's film is about the future about the world of tomorrow as exemplified by it's evocation of science-fiction masterpieces like Solaris mentioned and cited in this film, the casting of the star of Alphaville, Eddie Constantine as the head of a computer business organization and the constant presence of technology in this film, either off-screen(speakers and recording equipment) or on-screen(TV screens and later guns and bombs). The score by Peer Raben is appropriately electronic.

The story of The Third Generation is hard to summarize or describe and most people won't understand one bit of this film when they see it for the first time. See it twice and thrice and then it adds up. The story is just as fragmented as the personalities and lives of it's characters. The terrorist cell at the center of the film is a group of mostly middle-class misfits and apathetic junkies who are a mass of unresolved tensions and contradictions. Bulle Ogier's a stern history teacher(crucially introduced to us discussing the 1848 revolution in Prussia) but she's also a would-be feminist who submits to becoming a sex toy of Paul the "leader" of the group. Hanna Schygulla is your average bubbly corporate secretary but she's also carrying out a sado-masochistic affair with her father-in-law. Most of these "terrorists" activities for the first half are relegated to living in an apartment of a drug addicted young girl, later joined by her former boyfriend and his friend. Their activities here are confined to juvenile games and irritating each other out of their skulls later extended to breaking-and-entering and bank robbery. The sole murder committed by them is revenge acted out by a submissive over the dominant.

The actions of the police, the business interests, the government bureaucracy however is that of self-justification, of ruthless exercise of power and repression whose machinery ultimately incorporates these terrorists willingly and unwillingly.

The relation of this film to our current-day hell-hole needs little elaboration. This is a film for the 21st Century, the children of the third generation, one just as compromised and confused as it's forebears.

i can't say i really understood this movie but i was gripped. i'd drunk 8 beers before watching and fancied something heavy and wot heavier than Fassbinder i thought. i've read all the reviews of this movie on IMDb and they tell me it's a comedy. i didn't laugh once but Fassbinder really is way above my head in every way, so u may see the comedy that i missed out on. i also read u need to see this movie 2 or 3 times to get it. i think this movie was just too complex for my little brain but i still loved it. Fassbinder's 'fox and his friends' is one of my favourite ever films so i will always be open to a Fassbinder film. i will watch this film again because i really think there is something special going on. i shouldn't have drunk 8 beers before watching this complex work but like i said, i still enjoyed it which i think says something about Fassbinder.

One of Fassbinder's most underrated and misunderstood films with the spirited cast-including Udo Kier, Eddie Constantine, Hanna Schygulla, Margin Carstensen-make all this touching as well as troubling. This was made during a time when West Germany was dealing with many homegrown terrorist groups. Mind it, this is not an action film but an absurd comedy to be precise which explores the German Terrorism (Baader-Meinhoff crew) of the 70s. Fassbinder takes a neutral stand here and skewers both the left and the right, he takes a dig at the corruption and hypocrisy of both the capitalists and the communists. He pokes fun at radical bourgeois nihilist leftists who wants to make a statement against capitalism, but the result is that their efforts turn out to be a big flop as it helped the wealthy capitalist. Still kinda oddly compelling almost like adding another weird one to the opus of the old anti-burgeous Godard (La Chinoise) film which is relevant as shown in the on-screen title card and the aural tricks. Beyond Godard, Robert Bresson is a major influence in the film, scenes from controversial The Devil Probably is shown playing on the TV at the beginning of this film), and Tarkovsky's Solaris. But it is so stylized and deliberately non realist that it could be something else. But what matters is its visual aspect, made of unusual frames and geometric images that makes of it one of Faasbinder's best film I know followed by Lili Marleen, fascinating from the first to the last.

In Berlin, a cell of terrorist composed by middle-class people is activated with the sentence "The World as Will and Idea", based on the central work of the German philosopher Arthur Schopenhauer "The World as Will and Representation". They plan to abduct the businessman P. J. Lurz ( Eddie Constantine) that works with sales of computers, while they are chased by a persistent chief of police.

"Die Dritte Generation" a.k.a. "The Third Generation" is a weird, hermetic, disconnected but mesmerizing film of German director Rainer Werner Fassbinder, divided in six chapters and dedicated to those who truly love (meaning no one in the vision of the director). The plot explores the concept of terrorism and the contradictions of the middle- class and apparently the central idea is based on Schopenhauer's central work. Unfortunately I do not have knowledge in philosophy, sociology or political science to fully understand this inaccessible film. Fassbinder uses unusual angles with his camera and strange sounds to expose with irony the bourgeois values of each ridiculous terrorist of this generation that does not have ideology. In the end, I liked this collection of ideas in spite of I have not clearly understood the film as a whole. My vote is six.

Title (Brazil): "A Terceira Geração" ("The Third Generation")

Fassbinder at the peak of his creative powers. Die dritte Generation is as funny as it is scary, and is just as relevant today as it was when it was first released almost 25 years ago. Aesthetically as well as thematically, this is one of the director's most fascinating - along with Die Händler der vier Jahreszeiten (1974).