Rainer Werner Fassbinder--Remember the Man and his Films

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highly recommended

Rainer Werner Fassbinder--Remember the Man and his Films

This could be a good introduction to the terse, emotionally-layered films of Fassbinder, who is becoming recognized as having had a great impact during his short 37 years (deceased in 1982). His films focus on human themes that transcend era or epoch. Here we find a fruit-peddler, who, although seemingly doomed in his early forays into the world and cursed by his mother, continues to work to find meaning in his relationships with women, men, and the world of commerce. Yet, this well-meaning man sinks further into despair and depression, as life goes on. A poignant tale that is timeless, and as visionary today as it was the day it was released. Very highly recommended!

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Fassbinder's poignant Fruit Merchant.

Fassbinder made three of his best films in the early 1970s: The Merchant of the Four Seasons (1971) (Händler der vier Jahreszeiten), The Bitter Tears of Petra von Kant (1972) (Die Bitteren Tränen der Petra von Kant), and Ali - Fear Eats the Soul (1974) (Angst essen Seele auf), for which he won the International Critics Prize at Cannes in 1974. In his insightful review of Fassbinder's films, "Straight from the Heart," Tony Pipolo notes that during this time, Fassbinder was discovering that however small his characters may be, and however insignificant their emotions may seem, they could be big on the movie screen. In the pivotal Merchant of the Four Seasons, Fassbinder paints a poignant portrait of a fruit merchant (Hans Hirschmüller) in 1950s Germany. There is profound sadness in this film. After returning from the French Foreign Legion, Hans Epp is fired from the police force for crossing the line with a beautiful prostitute, before peddling his produce from a pushcart. Hans is not only rejected by his lover (Ingrid Caven), his unfaithful wife (Irm Hermann), and his berating mother (Gusti Kreissl) for selling pears and plums, but by his judgmental, bourgeois family. As a result, he makes a slow downward spiral into depression and alcohol. Hans is an empathetic brute. He beats his wife and ignores his daughter. He is portrayed as a lost soul, and the portrayal is compelling. We watch as his day-to-day existence drains the life out of him. He loses interest in sex. "I go for walks a lot and think," he says. "Maybe I think too much." Much like Fox and His Friends, The Merchant of Four Seasons offers Fassbinder's critique of a cruel German society that crushes the human spirit with its false pretenses. Watch for a brief cameo appearance by Fassbinder playing Hans' dining pal, Zucker. This is one of my favorite Fassbinder films. Highly recommended.

G. Merritt

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Sex-identity drama

A French Foreign Legion ex-mercenary straggles to find himself back home in the Germany of the fifties.

As understood, sex explorations during business hours lead him off police, down a social leader into a manual job while his indifferent marriage was damaged even more with letting his co-legion mate to move in a family small flat.

Also not much sex (neither same gender glamour, surely) was depicted as from a contemporary movie-watching expertice at all, at the time of the producing, the sexual-revolution- seventies of the last century, these pillow scenes were, probably, quite impressive.

Bringing just problems on close, a major character drunk himself to death making an exit from a bleak life filled with problems, leaving manipulative, supportive, unloved wife and a kid with a flatmate to eventually officiate unconsumable.

For reviewing an Australian-made DVD a price tag looks over-exaggerated in spite all the drama plot and actors' professionalism.

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The Prince of Pain

Fassbinder is the Prince of Pain. In "Merchant,"baby-faced Hans grew up with a cruel mother & driven-to-success siblings. Hans joined the foreign legion to prove himself-but got the greatest defeat of his life. Hans struggles to sell fruit in apartment courtyards (a dying trade). To sum it up: In battle, so called buddies could have helped more. In life, his wife could have helped more. In a unique Fassbinder ending both comic & melancholy,Hans loses interest in life, then ironically a woman he loves(now married)offers up a quickie (too little too late).

Another jewel film of the unforgettable Fassbinder

The prolific career of Rainer Werner Fassbinder (thirty six films in seventeen years ) reached one of the glorious peaks with that work . A fruit peddler watches his unexceptional life abrades slowly as a tragic adagio.
The creative powers of Rainer made of him the tragic memory of the Post War Germany . His talent allowed him evoke with horrid precision the timeless and small tragedies of the common people . All these films served him as the secure plataform for his mythical Berlin Alexanderplatz , some years after .
Powerful script and ensamble process . Watch once more to that supreme goddess and exceptional actress of the german cinema : Hanna Schygulla .

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reviews: page 1, 2

Rainer Werner Fassbinder had 12 features under his belt when he finally found success at home and earned international acclaim for The Merchant of Four Seasons. Hans Hirschmüller stars as Hans, who returns from a stint in the French Foreign Legion with high hopes and grand plans for the "economic miracle" of 1950s Germany. Fired from the police force for dallying with a hooker, he sets himself up as a street peddler selling fruits and vegetables from a pushcart, much to the horror of his bourgeois family and his socially conscious lover, who leaves him in disgust. Settling for a loveless marriage with a manipulative wife (Irm Hermann), Hans sinks into depression and ill health and finally falls silent as his new partner quietly usurps his place. It's a chilly but compelling portrait of a mercenary, often unfeeling family desperate to grab a piece of the economic boom, and Fassbinder invests it with a mix of street realism, melodrama, black comedy, and theatrical flourish. At the center is Hans, a prisoner of an unhappy life except for the moments he takes his cart to the streets and calls out his wares like a character in some working-class opera---until even that is denied him and he embarks on a special, utterly Fassbinderian escape. It's an unforgettable climax to one of Fassbinder's best films. Hanna Schygulla, Kurt Raab, and Ingrid Caven are among Fassbinder's familiar stock company of costars, and Fassbinder briefly appears in a small role. --Sean Axmaker

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