Rainer Days
In his curtailed life, which only lasted thirty-seven years, Rainer Werner Fassbinder would direct nearly fifty times, and in coalition act in nearly fifty films that both he and some of his contemporaries helmed. A fifteen year working pilgrimage, that was not journeyed quite this prolifically for many in the industry. In the short time that
Fassbinder lived, he certainly spared no creative expenses.
In the 1960's through the early half of the 1970's, much in the tradition of France's earlier New Wave ( Nouvelle Vague), The Neuer Deutscher Film or the New German Cinema was born, pioneered by Fassbinder and friends in the names of Werner Herzog and Wim Wenders who had the intention of resurrecting the Weimar Republic atmosphere. Their manifesto was to be irreverent, counter-establishment and always have freedom of artistic expression. The respective artists that defined this genre, had a different remit than that of the Nouvelle Vague. In New German Cinema , each specific film would vary in feel and energy, there was no gospel nor given.
Fassbinder's particular entries were very often ensemble pieces that challenged the conventions of modern relationships; both familial and that of the heart.
In one of the auteur's later efforts Die Sehnsucht der Veronika Voss (1982) (Veronika Voss) which was based on the sad but true story of thespian Sybille Schmitz, who bordered on Sarah Bernhardt's acting chops and who was adored in her homeland where the consensus was that she was strikingly beautiful, had dreams of breaking Hollywood, albeit the Americans considered her odd-looking, bereft of conventional beauty and that she just didn't possess that certain glamour that they vehemently required. In this release, one can clearly see Billy Wilder was a direct influence, from his equally painful story of 1950's Sunset Boulevard.
There was perhaps no greater muse for Rainer than that of German mastermind Bertold Brecht. Theater remained Fassbinder's one true love, in fact he would never take an actual excursion from the stage, for in every last one of his productions, there is no denying theater's aura all around.
In 1975's Angst vor Der Angst (Fear of Fear), which was initially produced for German television, but hosted all the gravitas of a feature film, we are taken into the world of Margot as per a transfixing performance by one of his mainstays, Margit Carstensen. A woman adrift and confused by postpartum symptoms of depression and who fears insanity. Even given her throes of hysterical blindness, there would be nothing greater to fear than aloof husband Kurt's (Ulrich Faulhaber) soul-destroying family that live on the floor underneath in their shared building, that make a living out of conspiring against her, expecting her servility and that she willfully obey thier orders. Margot gradually sinks fathoms deep into an emotional abyss and is ultimately sent away to cure her mystery "mania." If only a little more attention from her seemingly detached hubby - that very well may have been the elixir, but Margot's only panacea would consist of a few rounds with cognac, Valium and a botched affair with the doctor that illegally prescribed them. Affection starved, Margot beds Dr. Merck (Adrian Hoven) who at first appears quite smitten facilitating Margot to project deep feelings for him, only then to discover she was just another of his cheap conquests. An umbrella synopsis of this helmsman in a nutshell, for Fassbinder's true hallmark was to go starker than stark and journey into areas where even melodrama mavens Tennessee Williams and Elia Kazan dreaded to with ensemble pieces. In a Fassbinder film , even the most joyful moments are bleak and nary an emotional malady isn't exploited - but in a good way, honestly. Rainer had deep empathy for mental illness sufferers, as many friends, lovers and those who touched his life would be afflicted.
On the other hand, I must confess that I find it difficult a task, to be objective writing about this director, who was without doubt, a cinematic magician. I have however in my years as both a film historian and aficionado, learned that it is essential to separate art from artists and disallow their off-stage behavior to undermine the beauty of their crafts. Fassbinder was allegedly anti-Semitic, misogynistic, misanthropic and also said to be culpable for two of his jilted male lovers' suicides. Alas, this is not an easy man to love by any means. In fact, he took Fritz Lang's martinet and bumped it up quite a notch. Fassbinder was probably the most impossible director to work with. A bit of a beautiful devil if you will.
When all is said and done, I do have a hunch that Rainer Werner Fassbinder will most likely lead you to dance with him into his maddest of waltz.
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