Films/DVD Asylum

Posted by tinear (A) on March 13, 2007 at 05:02:14

ones in which he appeared, often as the principal actor.
No, these are not great films but it is wonderful to see the massive talent already visible: the trust in his actors' abilities with very long static shots; the realistic dialogue; the unflinching depiction of all classes.
The Ozu-like fixed camera work (he used the same cinematographer for his first 18 films) which made the movements--or non-movements--of the characters so critical especially is noteworthy.
This is not film for those expecting typical film noir or B-film fare: the acting troupe, which Fassbinder used throughout his career, were all drawn from the avant-garde German anti-theatre. Many parts are underwritten but they are worthwhile because of the quality of the acting alone: even the minor characters are given opportunities--not forcefully overshadowed by the principals as in most films where the "stars" take every chance to dominate lesser characters--and they seize the chance, often memorably.
It is also entertaining as hell to watch the actor playing a pimp or thief in a previous film become a typical bourgeouis husband, happy with his smiling wife, tankard of beer, and television in his next outing.
Though many of these films were completed in but eight to ten days, the careful viewer will watch in vain for any technical imperfections: Fassbinder was known for his meticulous attention to detail, his obsessive quest for perfection.
But...enough.
I, quite obviously, consider him a genius and one of modern films' greatest talents. To study his complete works immensely is fascinating and rewarding, especially in appreciating his later, justly considered masterworks.
In his fearless exposition of an entire culture, I can think of only one other major artist as his peer, and this in the field of literature: Balzac.