Superb anaylsis!! Wish it were longer. It's an endlessly fascinating film, full of sadness and horror, and yet distinctly joyous nonetheless. As you said, we can't really appreciate the Light without exploring the darkness.
I feel a bit embarrassed that I've yet to see Berlin Alexanderplatz (the DVD set sits in my backlog) but I've enjoyed most of everything else by Fassbinder. Will certainly push this film forwards so I see it soon. Great video as always 🙏
@@samfartson881 Melancholia (2008), Possession (1981), Stalker (1979), Salo, or the 120 Days of Sodom (1975), Voices Through Time (1996), Evolution of a Filipino Family (2004), Les miserables (1934), Persona (1966), 2001: A Space Odyssey (1968)
"Fazzbinder"? I like the creative pronunciation. Kind of like, Jazz-binder... all jazzed up and no place to go? Never mind. Peace. P.S. I still like the term, "Misanthropic Humanism", peace out.
I understand that it was your individual interpretation of Berlin Alexanderplatz but nonetheless I found it to be severely lacking. Especially to creating a political analogy out of it, depicting Franz or Mieze as personifications of Germany and so on. Franz and Reinhold shared a relationship that in no means should be termed as homoeroctic; it would be incorrect to say that they subconsciously shared homosexual feelings towards each other. Rather the attraction was something akin (not alike) moth to a flame. Reinhold was a charming man and as Franz got closer to Reinhold he saw and understood his miseries and afflictions and Franz couldn't help himself not helping Reinhold. Reinhold was exposed to Franz and felt vulnerable but Reinhold seeked control and acted repulsively nearly killing Franz. Wanting to possess Mieze was a similar reaction which is to gain a superior position over Franz. Reinhold to Franz was like a drug impossible to abstain from.
@@styleissubstance remember where they kissed, it was inside Franz's subconscious when he was dreaming. Note that it was right in ring when they were supposed to fight.
@@styleissubstance “[This is] by no means a question of something sexual between two people of the same gender; Franz Biberkopf and Reinhold are in no way homosexual [. . .] No, what exists between Franz and Reinhold is nothing more nor less than a pure love.” -R. W. Fassbinder, 1980
What I'm saying is not actually contradictory to that. I'm in complete agreement with the moth and flame and I'm well aware that the characters are *not technically homosexual.* There is a growing tension between the two, as men, an internal conflict that climaxes in a boxing match only to manifest into something else. They give into their true desires for one another which is not technically a homosexual desire but it's a love for another. Though, Fassbinder having to clarify that also makes sense to me because of how it is expressed... He's aiming for something beyond mere sexual yearning but he expresses things with queer coded imagery, evoking homoerotic subtext regardless. Franz's gender expression fluctuates in his mind as he adopts feminine makeup; Reinhold has a homosexual relationship in prison; the two kiss instead of fight; the song "Candy Says," which is about a trans woman plays as Franz breaks through the wall and reaches the other side to find his lover with Reinhold. There's a lot there to dissect, and Fassbinder aims to transcend these gender and sexuality expressions and limitations to express something larger about the human condition. This is supported by a few other films, namely In a Year of 13 Moons.
Reviews are subjective of course so it doesnt matter if i agree or disagree w your opinions on characters etc but Reinhold objectively wasn't a communist and even denigrates communism at multiple points in the movie, each time in Pums' office discussing money.
Could be right. Haven't seen it in years. I know I had a reason why I called him one but the answer evades me. Will probably rewatch some time later this year.
@@portland9880watching through the series again. The reason I call Reinhold a communist is because Franz questions if he is a communist right before meeting him. Reinhold mentions his politically active past, suggesting he was once a radical political activist. Lapsed communist is a better descriptor.
i just finished watching the entire thing yesterday. man, that was immense.
This was never one of my favourites by him, but you’ve made me want to revisit it. It’s been a while actually. Great video.
It's his crowning achievement, along with _Veronika Voss,_ in my opinion
Superb anaylsis!! Wish it were longer. It's an endlessly fascinating film, full of sadness and horror, and yet distinctly joyous nonetheless. As you said, we can't really appreciate the Light without exploring the darkness.
I feel a bit embarrassed that I've yet to see Berlin Alexanderplatz (the DVD set sits in my backlog) but I've enjoyed most of everything else by Fassbinder. Will certainly push this film forwards so I see it soon. Great video as always 🙏
I don't think there's anything embarrassing about not having seen a 15.5 hour long movie lol
@@styleissubstance 15.5 hours is just a good afternoon yet to happen tbh lol
Stunning film by a fine director!
It's probably on my top 10 or 20.
@@styleissubstance What other movies would you put in your top 10?
@@samfartson881 Melancholia (2008), Possession (1981), Stalker (1979), Salo, or the 120 Days of Sodom (1975), Voices Through Time (1996), Evolution of a Filipino Family (2004), Les miserables (1934), Persona (1966), 2001: A Space Odyssey (1968)
@@styleissubstance epic list
I truly adore your channel!! You deserve many more subscribers, but perhaps being the underdog is part of the fun
RWF is a powerhouse.
Reinhold!!!!
has something happened to your voice
Now that I'm comfortable recording my voice, I'm rejecting my cold reading voice in favor of something softer.
"Fazzbinder"? I like the creative pronunciation. Kind of like, Jazz-binder... all jazzed up and no place to go? Never mind. Peace. P.S. I still like the term, "Misanthropic Humanism", peace out.
I saw a bad print of the series at a Fassbinder Film Festival. I wish we could see it in celluloid glory!
Can DVD versions on a non-movie screen relate it? What do you think?
@@shawntoh it’s on criterion channel!
I understand that it was your individual interpretation of Berlin Alexanderplatz but nonetheless I found it to be severely lacking.
Especially to creating a political analogy out of it, depicting Franz or Mieze as personifications of Germany and so on.
Franz and Reinhold shared a relationship that in no means should be termed as homoeroctic; it would be incorrect to say that they subconsciously shared homosexual feelings towards each other. Rather the attraction was something akin (not alike) moth to a flame. Reinhold was a charming man and as Franz got closer to Reinhold he saw and understood his miseries and afflictions and Franz couldn't help himself not helping Reinhold.
Reinhold was exposed to Franz and felt vulnerable but Reinhold seeked control and acted repulsively nearly killing Franz. Wanting to possess Mieze was a similar reaction which is to gain a superior position over Franz.
Reinhold to Franz was like a drug impossible to abstain from.
They literally kiss each other lol.
@@styleissubstance remember where they kissed, it was inside Franz's subconscious when he was dreaming. Note that it was right in ring when they were supposed to fight.
@@styleissubstance “[This is] by no means a question of something sexual between two people of the same gender; Franz Biberkopf and Reinhold are in no way homosexual [. . .] No, what exists between Franz and Reinhold is nothing more nor less than a pure love.” -R. W. Fassbinder, 1980
What I'm saying is not actually contradictory to that. I'm in complete agreement with the moth and flame and I'm well aware that the characters are *not technically homosexual.* There is a growing tension between the two, as men, an internal conflict that climaxes in a boxing match only to manifest into something else. They give into their true desires for one another which is not technically a homosexual desire but it's a love for another. Though, Fassbinder having to clarify that also makes sense to me because of how it is expressed... He's aiming for something beyond mere sexual yearning but he expresses things with queer coded imagery, evoking homoerotic subtext regardless. Franz's gender expression fluctuates in his mind as he adopts feminine makeup; Reinhold has a homosexual relationship in prison; the two kiss instead of fight; the song "Candy Says," which is about a trans woman plays as Franz breaks through the wall and reaches the other side to find his lover with Reinhold. There's a lot there to dissect, and Fassbinder aims to transcend these gender and sexuality expressions and limitations to express something larger about the human condition. This is supported by a few other films, namely In a Year of 13 Moons.
I aint readin that
Reviews are subjective of course so it doesnt matter if i agree or disagree w your opinions on characters etc but Reinhold objectively wasn't a communist and even denigrates communism at multiple points in the movie, each time in Pums' office discussing money.
Could be right. Haven't seen it in years. I know I had a reason why I called him one but the answer evades me. Will probably rewatch some time later this year.
@Style is Substance I just watched and it's been haunting me for weeks, probably gonna rewatch
@@portland9880watching through the series again. The reason I call Reinhold a communist is because Franz questions if he is a communist right before meeting him. Reinhold mentions his politically active past, suggesting he was once a radical political activist. Lapsed communist is a better descriptor.