Händler der vier Jahreszeiten (1971)

Note Générale:

7,6/10   

Réalisateur:

Rainer Werner Fassbinder

Scénariste:

Rainer Werner Fassbinder (writer)

Date de sortie:

4 novembre 1971 (Allemagne de l'ouest)

Genre:

Drame

Intrigue:

Hans is a street fruit peddler and born-loser. His choice of career upsets his bourgeois family, causing him to turn to drinking and violence...

Plot Keywords:

Death | Fruit | Dysfunctional Marriage | Tear | Whipping

Récompenses:

3 wins

Avis des utilisateurs:

Fassbinder evolving

Ensemble

Hans Hirschmüller	...	Hans Epp
Irm Hermann	...	Irmgard Epp
Hanna Schygulla	...	Anna Epp, Hans's sister
Andrea Schober	...	Renate Epp, Hans's daughter
Gusti Kreissl	...	Mother Epp
Klaus Löwitsch	...	Harry Radek
Karl Scheydt	...	Anzell
Ingrid Caven	...	The merchant's great love
Kurt Raab	...	Kurt, Heide's husband
Heide Simon	...	Heide, Hans's second sister
Peter Chatel	...	Dr. Harlach
Elga Sorbas	...	Marile Kosemund, a whore
Lilo Pempeit	...	Customer
Walter Sedlmayr	...	Fruit cart salesman (as Walther Sedlmayer)
El Hedi ben Salem	...	The Arab (as Salem El Heïdi)

Autre(s) titre(s):

The Merchant of Four Seasons

Durée:

88 min

Pays:

Allemagne de l'ouest

Langue:

Allemand | Arabe

Couleur:

Couleur

Rapport de forme:

1,37 : 1

Son:

Mono

Classification:

Australia:MA (2008) | Singapore:PG | UK:15 | West Germany:16

Lieux de tournage:

Munich, Bavaria, Germany

Société:

Tango Film

Connexions:

Référencé sur Man yan (2004)

Fassbinder evolving

In Fassbinder's earlier films, his ideas sometimes surpased his ability to execute them. He was always a great writer, but it took him some time to get his style of camera work and storytelling down pat.

The Merchant of Four Seasons is one of Fassbinder's first movie to make great use of color, from the bright green pears in the merchant's cart to the bright red roses at the funeral (a funeral in a Fassbinder movie? who'd have thought).

His camera work was getting there too, but it was still fairly minimalist. The occasional zooms seem a bit uncomfortable at times and unnatural, but then again, Fassbinder was still coming out of his purely avant garde phase. This might be because Michael Ballhaus isn't behind the camera, but instead the slightly inferior Dietrich Lohmann.

Still, this is Fassbinder, and you get your fix here. Broken dreams shown so vividly and unflinchingly as to alienate audience and drive them into a depressed stupor. Just what the doctor ordered. An early classic that shows remarkable progression when compared to his first films released only 2 years prior.