the line of least resistance
by Douglas Messerli
Rainer Werner Fassbinder (screenwriter and
director) Rio das
Mortes / 1971
Actually, I don’t quite see the problem.
In several of Fassbinder’s early films, including Love Is Colder Than Death (1969)
and Gods of the Plague (1970), a male friend of the central masculine
figure shows up after a long period of absence, intruding upon a heterosexual
relationship only to rekindle a long-ago male-bonding that bears a close
resemblance to a homosexual attraction between the two that is so strong it
eventually results in the “intruder” not only moving in with the couple, but
sexually sharing the female figure. In frustration and anger, the females in
these films generally turn on their original boyfriend, betraying him and
causing the end of the relationship or even his death.
True,
both of the above-named films appear to make that homosexual bond more
transparent than does Rio das Mortes, and the female figure in this case
seems far more ambivalent about her attempts to revenge her lover’s
abandonment. The figures of Rio das Mortes, admittedly, are less
well-defined, both by the writer-director and by their own persons, than the
gangster-driven figures of Love Is Colder Than Death and Gods of the
Plague. Mike, Günter and even Hanna are, socially and economically-speaking
lower-class, individuals who have never looked within and have little
conception of their lives or their roles in it. Hanna, as she continues to
assure her obviously bourgeois mother, simply wants to marry—despite her vague
attempts to educate herself and possibly embrace a feminist position.
Mike—bored by his work as a journeyman laborer, spending most of his days retiling
the bathrooms of wealthy clients, payment for which he gets only a fraction—has
no perception of any alternatives. His schoolboy chum, Günter, although having
vowed that he will not join the military, is, by his own retelling, mindlessly
drawn into the navy, and now is working as a salesman, pretending to his
customers to provide travel bonuses if they will purchase his company’s
products over a period of several months. Neither have any imagination, as
their attempts to put together funds to travel to Peru soon reveals. As Günter
summarizes his behavior throughout his navy stint: “I took the line of least
resistance”—the very same tack we have observed Hanna taking with her mother in
the first scene of the movie. Throughout their lives, these three individuals
have basically done what has been expected of them.
Similarly, upon accidentally reencountering one another once again—Günter having entered the house to try to sell Hanna his products—the two male friend’s immediate response is a rough-housing wrestle that ends with Günter splitting his pants. The utter electrical thrill the two have in rubbing their bodies together is obvious. And even if they never come to realize why they are so desperate to escape the worlds in which they are currently trapped by joining up with one another to fulfill their ridiculous childhood fantasy, we immediately sense that it has nothing at all to do with buried treasure, Peru, or any other logical motivation. Indeed, when they are asked to make their journey fit some normative pattern—when they are required to recast their adventures in terms of a farming venture or a scholarly inspired trip—they utterly fail. Cotton and native culture and artifacts have absolutely no bearing on their need to fly away together. And it doesn’t matter a hoot whether they end up in Peru or Brazil. There is no gold to be found except in Günter’s possible recognition of the beauty of Mike’s long golden locks. Only Günter’s seemingly refined mother (nonsensically played by Fassbinder’s own mother, Lilo Pempeit) seems to recognize their actual intention when she offers up the money she has saved for her son’s marriage to help pay for his trip to what her son and friend misconceive as the land of the Mayas! For it is a kind of marriage they are seeking, a coming of age adventure for which Mike is even willing to give up his beloved car—an obvious symbol of male virility and sexual allure. The scene, in fact, in which he sells the car to auto salesman (Ulli Lommel) is so filled with sexual innuendo that, when Mike hands over the key to the car, he might as well be also offering up a tool to unlock his pea-green pants.
Fassbinder makes it quite clear throughout that if these three believe
there are truly heterosexual they are utterly deluded. Hanna will clearly never
find fulfillment, even in the sexy dancer she encounters in a bar—played, with
great irony, by Fassbinder himself.
Fassbinder’s work is quite openly a gay and lesbian fantasy, a film
which associates its central figures’ sexuality with the clown-like efforts of
someone like Buster Keaton’s absurd efforts to win his incompetent and
prejudiced girlfriend in The General or the operatics of a born-diva
like the multiply married Lana Turner who, when her daughter killed her own
gangster husband, dramatically “collapsed”—as the newspapers described her
grand gesture—an act of such ridiculousness that gay poet Frank O’Hara would
mock it in his “campy” poem "Lana Turner Has Collapsed.” Even the landlady
who comes to collect the rent sings a song from Madama Butterfly, as if
to rub in Hanna’s own loss of her navy man, Günter, with who whom she
Although
Hanna intends/pretends to play out a drama of revenge by showing up at the
airport to shoot the two men who have now abandoned her, she is so
indeterminate in her action that they escape behind a luggage wagon and then
the wing of the plane itself. Returning the gun to her purse, she reapplies her
lipstick, suggesting perhaps that she has suddenly realized that she is now
free to pursue her own hidden sexual desires with Katrin.
If the
desires of these unwitting and unthinking beings are absurd and ridiculous,
however, they are absolutely sensible when put into the context of the film’s
other figures, nearly all made even more incredible through their pretense of
knowledge regurgitated from almost senseless books about the process of
education, from economic theories that tie up the relationship of Brazilian
religious figures with those of the country of Columbia, and emanate from the purposeless,
personal assignment of roles—Günther is to be the cameraman and Mike the
“friendly” mountaineer to Joaquim’s scholarly researches of the Peruvian
landscape. The supposedly intelligent individuals of the upper class such as
Joaquim, well integrated into the German society, know even less about reality,
Fassbinder demonstrates in this comic work, than the completely unperceptive
clowns who take the path of least resistance.
We might
imagine, at least, that when their feet reach the ground in Peru, the two men
will “wise up,” rubbing their bodies together in a more purposeful manner in
order to scratch the itch of their unrealized desires.
Los
Angeles, September 25, 2014
Reprinted from World Cinema Review (September
2014).
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