Rainer Werner Fassbinder (writer)
24 juillet 1970 (Allemagne de l'ouest) suite
A man is released from prison and finds the society on the outside less than appealing. With several women as well as the police on his tail, he sets out to find an old friend. full summary | add synopsis
2 wins suite
Alienation through boredom plus de (3 total)
| Hanna Schygulla | ... | Johanna Reiher | |
| Margarethe von Trotta | ... | Margarethe | |
| Harry Baer | ... | Franz Walsch | |
| Günther Kaufmann | ... | Günther | |
| Carla Egerer | ... | Carla (as Carla Aulaulu) | |
| Ingrid Caven | ... | Magdalena Fuller | |
| Jan George | ... | Polizist | |
| Lilo Pempeit | ... | Mutter | |
| Marian Seidowsky | ... | Marian | |
| Micha Cochina | ... | Joe | |
| Yaak Karsunke | ... | Kommissar | |
| Hannes Gromball | ... | Supermarkt-Chef | |
| reste de la distribution par ordre alphabétique: | |||
| Rainer Werner Fassbinder | ... | Pornokunde (uncredited) | |
| Irm Hermann | ... | (uncredited) | |
| Doris Mattes | ... | Marie Luise (uncredited) | |
| Peter Moland | ... | (uncredited) | |
| David Morgan | ... | Catcher (uncredited) | |
| Kurt Raab | ... | Gast in der Kneipe (uncredited) | |
| Katrin Schaake | ... | Wirtin im zweiten Café (uncredited) | |
| Thomas Schieder | ... | Tommy (uncredited) | |
| Lilith Ungerer | ... | Mädchen im ersten Café (uncredited) | |
Réalisé par | |||
| Rainer Werner Fassbinder | |||
Scénaristes(dans l'ordre alphabétique) | ||
| Rainer Werner Fassbinder | writer | |
Produit par | |||
| Rainer Werner Fassbinder | .... | producer | |
| Michael Fengler | .... | producer | |
Musique originale | |||
| Peer Raben | |||
Image | |||
| Dietrich Lohmann | |||
Montage | |||
| Rainer Werner Fassbinder | (as Franz Walsch) | ||
Création des décors | |||
| Kurt Raab | |||
Directeur de production | |||
| Christian Hohoff | .... | production manager | |
| Peer Raben | .... | production manager (as Wilhelm Rabenbauer) | |
Assistant réalisateur | |||
| Kurt Raab | .... | assistant director | |
Technicien du son | |||
| Gottfried Hüngsberg | .... | sound | |
Caméra et Département Electrique | |||
| Ekkehard Heinrich | .... | lighting technician | |
| Herbert Paetzold | .... | assistant camera | |
Dpartement Editorial | |||
| Kurt Raab | .... | assistant editor | |
Divers | |||
| Peter Gauhe | .... | script | |
Gods of the Plague (USA)
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91 min
1,37 : 1 suite
Singapore:M18 (cut) | UK:18 | West Germany:16
In the hotel, Franz Walsch uses the pseudonym Franz Biberkopf. That's the name of title character of Alfred Döblin's famous novel "Berlin Alexanderplatz", which Fassbinder would adapt to a 13-part TV-miniseries later in his career. suite
Margarethe:
Why do they call you "the Gorilla"?
Günther:
Because I'm big and strong... and everyone has to have a name.
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| Chicago | Unmasked | Chain of Evidence | King of New York | Dayereh |
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IMDb Note Générale:
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IMDb Note Générale:
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| Casting et équipe complète | Remerciements de la Société | Revues externes |
| IMDb Crime section | IMDb Allemagne de l'ouest section | Add this title to MyMovies |
If only Bayer or Pfizer could bottle this movie for insomniacs, they'd make an even bigger fortune than they do now. Fassbinder proved he could fashion unique cinematic art out of a bunch of people standing around excoriating each other in several of his early pictures, but here the internal tensions never mount and the tropes don't connect. Some claim it to be a homage to film noir, and certainly there is alienation, paranoia and betrayal in spades, as well as iconic visual references to classics like Laura and Double Indemnity. But the moody lighting and framing in his excellent "The American Soldier" are much closer to the noir stylings of Alton and Planer than the arid non-style here.
However, the greatest offense of the film is the inclusion of a seemingly endless, static sequence featuring the playing of a phonograph record of a gimmicky children's tune about an oddball menagerie -- I guarantee you that this nauseating little ditty will echo in your skull for days. At the same time, the subtitlers are owed a great deal of credit for their incisively clever translation of the absurd rhyming couplets into (very British) English.