1 + 1 Express | Burr in the facebinder

Facebinder was born in Bavaria, in the German state, in an environment that would be a leaven for his restless soul. He grew up in the chaos of post-war Germany. He had family problems since childhood. Her parents divorced when she was six years old. Movies became her obsession, as she was sent to the movies every day by her divorced mother who couldn’t keep her head away from her work. He applied to the West Berlin Academy of Cinema and Television in 1965, but failed the entrance exam. After studying acting at the Friedel-Leonhard studio in Munich, he founded the Munich Action Theater in 1967, with Hannah Schugler, whom he met at the school, who would become one of the essential actors in the future Facebinder film. The following year, when the police closed the theater, he formed his own party, the Anti Theater. Both were experimental teams who went against the established tradition.

He has politicized melodrama. He turned his eyes to “politics” which was obsessed with melodrama. In Fassbinder’s view, personal was also political.

He became accustomed to short films in 1965-66 and in 1969 shot his first themed feature film with members of his own theater. In the following years, he made an average of three or four films a year, producing numerous plays and television. He performed in theaters throughout Germany. He undertook the task of producing several radio dramas. He has acted in other films and almost all his own films.

To keep pace with this incredibly fast pace, Facebinder will not sleep for a few days. Such as his masterpiece Berlin Alexander PlatzAt the time of writing ‘(1980), he worked 100 hours without interruption, then slept 24 hours. Then another 100 hours. To work with such devotion he had to ruthlessly exploit his body. “Auxiliary equipment” was inevitable. He started breaking down his whole body when he was only 23 years old. But Facebinder didn’t even tweet. He could not sleep in peace without feeling the need to produce something. A radio drama, the next theater drama, a new movie in it, then a television movie and acting in it. Facebinder had relentless instability. As if from the beginning he felt that there was no way to swallow long in the short life of 37 years: “I only had this special time … He should have come running. “I’ll have enough time to sleep in the grave.” He was saying.

With Hannah Shigulla

Impossible to love

The most distinctive aspect of Facebinder’s work was the way he used melodrama and the political and social criticism he drew from it. He was obsessed with melodrama, one of the most common forms of bourgeois narrative and his favorite delusion of what has been called “mass art” for almost two centuries. Especially the suburban melodrama of Douglas Cirque with Jane Wyman, Rock Hudson, Lana Turner. Facebinder takes these movies seriously. Douglas has often said that he appreciates the melodramas of the circus. He even wrote a review on his movie, inspired by The Circus.

This, however, did not prevent Fassbinder from constantly tormenting classical melodramatic narratives and de-dramatizing his films. He has politicized melodrama. He turned his eyes to “politics” which was obsessed with melodrama. In Fassbinder’s view, personal was also political. In the impossible romance of suburban melodramas, the heroes who buried their love in their hearts said something about the judgment of the hypocritical price. Facebinder, in his films inspired by these films, portrays the impossible love, for example, between an old German woman and a Moroccan black man. Or the opposite love affair between Franz, an unemployed teenager, who won the lottery and became rich, and her boyfriend Eugene, the son of a producer.

The right to freedom from persecution (Faustrecht der Freiheit, 1975) is a good example of his use of melodrama and away from melodrama and his relentless criticism. Presumably, Facebinder liked to say a familiar and melodramatic subject, a man (Franz) who, after winning a lot of money in the lottery, was dragged to emptiness and death by the exploitation of his friend and boyfriend (Eugene) and his family. , Both with melodrama and was able to avoid it: Facebinder. According to him, it is money and exploitation, not homosexuality, which should be discussed in this drive towards poverty and death. The fights and wounds in the relationship, direct or homosexual, differ only for the facebinder on the surface. If the love story between Franz and Eugene inevitably turns into a story of exploitation and destruction, it is not a specific issue for gender or personal sexuality, but an issue whose source should be explored in “social”. There is no need for a plan for the exploitation of the proletarian franchise by Eugene, the bourgeoisie; The efficiency of the internal system is sufficient for this. The right to freedom from persecutionIn principle, oppression does not work differently from heterosexual oppression …

The right to freedom from persecution (1975)

The manifestation of fascism among migrant workers

Facebinder performs the reversal of melodrama in another film, this time on a racial level; It throws its sharp arrows at German society and the common people. Fear knows the soul, (Angst essen Seele auf, 1973), is about the attitude of German society towards migrant workers. The scene depicts a love affair between an elderly German widow (Amy) and a Moroccan immigrant (Ali) who is at least twenty years younger. The society that hates Amy and Ali’s marriage (Amy’s co-workers, children, neighbors, neighborhood grocers, everyone) excludes them first. But when they realize that they are taking advantage of the functionality of the system, they abandon this exclusion.

In this movie Fassbinder utters his most painful sentences; Ordinary people who are left out also get their share: he went to celebrate the day he married Amy Ali, a restaurant where Hitler often went to eat; Amy always wanted to eat at the restaurant where Hitler went, and when she was re-accepted among her colleagues, Amy took a stand against another migrant worker (Jolanda) who joined their German colleagues “without a plan.” Jolanda belongs to a different pricing group than Amy et al .; The rule of equal pay for equal work does not apply to him. At work, we see Jolanda where Amy used to sit. Amy, on the other hand, is with her colleagues, who had previously dropped her off, where she stood. A new solidarity of interest has emerged and Amy has reunited with her friends.

Fear knows the soul1973

Finally, Amy invites her colleagues to her house for coffee. He shows the lady Ali. It’s not an introduction, it’s just an exhibition. The women admire Ali’s body and show their admiration by touching his muscles. In Emir’s space, Ali is now completely restructured. At the end of this melodramatic structure, what remains in our minds is not the illness or impossibility of love; It was a manifestation of fascism that German society brought from its past, probably never accepted, but only had to be preserved, but in the eyes of the migrant workers and them. Ordinary people are not as ordinary as ordinary people think …

Light increases danger

The last movie Q.uerelle (1982), although he follows a similar theme, stands in a completely different place. By Jean Janet Q.uerelle de brest Unlike his other films, he puts this latest work, which he adapted from his novel, into an almost obsolete, abstract place. Jean Moreau sang “Every man kills his favorite thing”. Litmotif, repeating line as Oscar Wilde Donjion reading ballad It is from his work and about a man who is guilty of the death of the one he loves and awaiting the death penalty in prison. In this recent film, Facebinder for the first time reveals the bond between sex and power, independent of his social disguise.

Throughout the history of cinema, it is not easy to find an artist who devotes himself to cinema as much as he thinks and shoots in real life.

A sailor kills a sailor, and a worker kills a worker. Both face the killer; Another reported the matter to the police. One deliberately killed one, the other suddenly became angry. Their behavior is determined by vengeful love and passion. Sexual harassment cannot be freed from the urge to destroy. An unmanly sexuality is out of the question. The exterior view always reflects the inner spiritual landscape. QuerrellIn, the scene is a roundabout without any way. Decorations, props, everything is artificial. The entire shooting of the movie has been done on the set. No other Facebinder film exposes its artificiality so openly and does not isolate the universe from the outside world with the same rigidity.

Knowing he had to hurry to use “the time he had”, Facebinder packed 35 feature films, 24 theatrical plays, 36 actors, 36 actors, two television series, three short films, four video works and four radio dramas into his fast-paced short life. . . But he did the same movie every time: “I am not making a revolution, I am making movies. And I always make a movie, always the same movie. That is understandable. “

Querrell1982

This “solo movie” also has fascinating insights into Facebinder’s own life that he is constantly shooting; Numerous symptoms that indicate early death are confusing. These are like comments in his biography. The right to freedom from persecutionIn the final scene, Fassbinder, who plays Franz, is lying lifeless on the floor of the subway station when two boys come and steal his last money, and they take off his jacket. Film circles in Munich say that a German producer took a mold from Fassbinder’s body without the permission of his relatives and tried to make money with it.

Wherever he looked, there was a scar on his eye. Since he was nowhere to be found, he was accused of everything: anti-communist, male anarchist, anti-Semitic, homophobic …

Mobile sellerIHans, the protagonist of the 1971 handler Darwin Zahresjeten, drinks and no one interrupts him. Alcohol is the first “helpful tool” to use a facebinder because it has to be absorbed by his body. A black and white movie The desire of Veronica Voss(Die Sehnsucht der Veronika Voss, 1982), danger does not trap them in the dark; The deadly moment of the movie happens when the light falls on the scene or event. The doctor’s office room, where Veronica Voss took the deadly dose of the sleeping pill, was almost white; There is no shade to hide inside and the door is locked from the outside.

Fassbinder’s body was found in a locked room on the night of June 10, 1982. He took high doses of cocaine and sleeping pills. Next to it is Rosa Luxemburg’s unfinished script. And the house is bright.

Cine-Eye of Facebinder

Facebinder’s passion for movies and cinematic creations is truly amazing. Throughout the history of cinema, it is not easy to find an artist who devotes himself to cinema as much as he thinks and shoots in real life.

But the main thing that sets him apart from others is his position. He was a fierce opponent, a fierce enemy of the system and an unbearable opponent. However, they did not carry flags, nor did they include any clusters. Although he did not consider himself a political filmmaker, he was far more political, more extremist, than many filmmakers who think so. He was looking straight into her eyes and saying. His camera was working just like his eyes, the evidence of the environment in which he lived was so amazing that it was possible to witness the whole economic, social and political adventure of Germany from before the Second World War to the 1980s. Movies Similarly, the story of the 20th century on the scale of the German race and the planet can be read through the eyes of Fassbinder.

Maybe all he had to do was remove the scars on his eyes. Wherever you look in society, you see. He did not fall asleep every time he looked at her. Because he was nowhere to be found, he was accused of everything: anti-communist, male chauvinist, even anti-Semitic, even homophobic. One of his colleagues, Carlheinz Bohm, Tell me, I know you’re right, I know you’re left, against vaccinationriAgainst them, against them, against them. So who are you on? There was a short pause, then Facebinder opened his eyes wide. “I feel like something is burning everywhere, I just see that something is wrong and something smells bad. And whether it’s right, left or upriEither below or below: I keep attacking from all sides.

It was Facebinder.

To revealNo. 50, June 2005

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