by Douglas Messerli
Rainer Werner Fassbinder (screenwriter and director) Katzelmacher / 1969
Particularly in
this work the director explores the younger generation of German “losers” upon
whom he focuses in Fox and His Friends,
In a Year with 13 Moons, The American Soldier, The Merchant of Four Seasons and Why Does Herr R. Run Amok?, as well of
Fassbinder’s insistent revelation of his being a culture that painfully
excludes outsiders, such as he portrayed in Ali:
Fear Eats the Soul.
Although they
have all long played sexual musical chairs (in one scene they actually act out
their previous interrelationships by changing chairs in a small bar), the women
proclaim to the heavens that their men are wonderful sexual partners, if only
they could get their current partners to commit to marriage.
They are, in
fact, a quite despicable little clan, the type that make up hundreds of small
American towns and even Australian ones (as portrayed in Muriel’s Wedding), who, left behind, feel that they exist as the
center of the universe, despite their poverty, bigotry, and inability to find
real love.
Fassbinder
reveals their emptiness by putting them, time and again, into a starkly black
and white lineup, one beside the other or one posing next to another, or, at
other times, spread out on the street like waiting whores, both men and women
basically playing those roles in their private lives. Rosy has even become a
real whore (with regular paying customers from this group of “friends”) with
dreams of becoming a television star; Paul brings in a few marks each week by
servicing a homosexual patron, Klaus (Hannes Gromball), who is probably the
nicest of the men in this movie.
The rest
mutter inanities to one another or often sit sipping beer and endlessly smoking
cigarettes; the women share romance magazines, smoke, and tell horrible tales
behind each’s
Indeed,
throughout most of the movie’s first 50 minutes, Fassbinder tests our patience
with his endless dialogues, mostly empty of any content, except to quite
brilliantly reveal his character’s pointless lives—this is a true drama of
despair—and prepare us from the arrival, in their neighborhood of an outsider,
a Greek worker, Jorgos (brilliantly performed by Fassbinder himself).
Jorgos has come
to Germany to make more money for his family back in Greece, and Elisabeth (Irm
Hermann), the only woman of this coven who seems to be able to financially
survive (she supports her ape-like husband Peter), determines to rent an empty
room in her house to Jorgos. Like a kind of Maria Braun, the powerful title
character of a later Fassbinder film, she knows how to truly succeed.
Her neighbors
not only harass her, but bully and berate the Greek, who cannot even comprehend
their German-language taunts, believing that they are perhaps being friendly
with their xenophobic comments. When Marie leaves her current lover, falling in
love with the gentle stranger, the men plot castration and much else,
fortunately as empty in terms of action as most of their meaningless plots.
Yet even Marie
senses, as does the audience, a truly violent encounter is in the air,
suggesting these people know each other so well that they can smell their acts.
And after Gunda lies about being raped by the stranger in the playground, and
another of them reports that Greece is filled with Communists, suggesting than
Jorgos is himself a sympathizer—an even more terrifying possibility for these
thoughtless Germans—four of the males beat him when he attempts to pass their
horizontally-controlled universe.
Jorgos
survives, and Elisabeth requests that, despite the “bam-bam” incident he has
suffered that he stay on, while her boyfriend reveals that she is getting a
top-rate rent for the room and is now planning to divide the bedroom where he
lives to invite in another “outsider.” The group gradually perceives the wisdom
of her ways. “Elisabeth always was a good business woman,” they sigh. “These
foreigners work hard and keep their money within the country,” they suddenly
perceive, after reading a newspaper. Maybe it’s not too bad to have a few
Greeks and Turks around to help out the German economy. Marie even believes
that come spring-time Jorgos might take her on trip to Greece, despite the
existence of wife: things are different there in Greece, she imagines. Like so
many of Fassbinder’s films, one might cry out in despair if only we weren’t
laughing just underneath of tears.
Today, when we
think of the strategies of Angela Merkel in relationship with our new xenophobia promoted by Donald Trump,
Fassbinder’s 1969 film seems absolutely prophetic!
Los Angeles,
October 27, 2018
Reprinted from World
Cinema Review (October 2018).
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