Rainer Werner Fassbinder aka

Intern: Satznummer: 1012808 aus: imd_181
Titel
Biographisches zu: Rainer Werner Fassbinder
aka:
Alsch, Franz
Fassbinder, R.W.
Fassbinder, Rainer W.
R.W.F.
Walsch, Franz
Walsh, Franz
Biograph.Hintergrund: Above all, Rainer Werner Fassbinder was a rebel whose life
and art was marked by gross contradiction. Openly homosexual, he married twice.,
one of his wives acted in his films and the other served as his editor. Accused
variously by detractors of being anticommunist, male chauvinist, antiSemitic and
even antigay, he completed 44 projects between 1966 and 1982, the majority of which
can be characterized as highly intelligent social melodramas. His prodigious output
was matched by a wild, self-destructive libertinage that earned him a reputation as
the enfant terrible of the New German Cinema (as well as its central figure.) Known
for his trademark leather jacket and grungy appearance, Fassbinder cruised the bar
scene by night, looking for sex and drugs, yet he maintained a flawless work ethic
by day. Actors and actresses recount disturbing stories of his brutality toward
them, yet his pictures demonstrate his deep sensitivity to social misfits and his
hatred of institutionalized violence. Some find his cinema needlessly controversial
and avant-garde., others accuse him of surrendering to the Hollywood ethos. It is
best said that he drew forth strong emotional reactions from all he encountered,
both in his personal and professional lives, and this provocative nature can be
experienced posthumously through reviewing his artistic legacy.
Fassbinder was born into a bourgeois Bavarian family in 1946. His father was a
doctor and his mother a translator. In order to have time for her work, his mother
frequently sent him the movies, a practice that gave birth to his obsession with
the medium. Later in life, he would claim that he saw a film nearly every day and
sometimes as many as three or four. At the age of 15, Fassbinder defiantly declared
his homosexuality, soon after which he left school and took a job. He studied
theater in the mid-sixties at the Fridl-Leonhard Studio in Munich and joined the
Action Theater (aka, Anti-Theater) in 1967. Unlike the other major auteurs of the
New German Cinema (e.g., Schlöndorff, Herzog and Wenders) who started out making
movies, Fassbinder acquired an extensive stage background that is evident
throughout his work. Additionally, he learned how to handle all phases of
production, from writing and acting to direction and theater management. This
versatility later surfaced in his films where, in addition to some of the
aforementioned responsibilities, Fassbinder served as composer, production
designer, cinematographer, producer and editor. [So boundless was his energy, in
fact, that he appeared in 30 projects of other directors.] In his theater years, he
also developed a repertory company that included his mother, two of his wives and
various male and female lovers. Coupled with his ability to serve in nearly any
crew capacity, this gave him the ability to produce his films quickly and on
extremely low budgets.
Success was not immediate for Fassbinder. His first feature length film, a gangster
movie called _Liebe ist kälter als der Tod (1969)_ (qv) was greeted by catcalls at
the Berlin Film Festival. His next piece, _Katzelmacher (1969)_ (qv), was a minor
critical success, garnering five prizes after its debut at Mannheim. It featured
Jorgos, an emigrant from Greece, who encounters violent xenophobic slackers in
moving into an all-German neighborhood. This kind of social criticism, featuring
alienated characters unable to escape the forces of oppression, is a constant
throughout Fassbinder's diverse oeuvre. In subsequent years, he made such
controversial films about human savagery such as _Pioniere in Ingolstadt (1971)
(TV)_ (qv) and _Whity (1971)_ (qv) before scoring his first domestic commercial
success with _Händler der vier Jahreszeiten (1971)_ (qv). This moving portrait of a
street vendor crushed by the betrayal and his own futility is considered a
masterpiece, as is his first international success _Angst essen Seele auf (1974)_
(qv) (Fear Eats the Soul). With a wider audience for his efforts, however, some
critics contend that Fassbinder began to sell out with big budget projects such as
_Despair (1978)_ (qv), _Lili Marleen (1981)_ (qv) and _Lola (1981)_ (qv). In
retrospect, however, it seems that the added fame simply enabled Fassbinder to
explore various kinds of filmmaking, including such "private" works as _In einem
Jahr mit 13 Monden (1978)_ (qv) and _Die dritte Generation (1979)_ (qv), two films
about individual experience and feelings. His greatest success came with _Die Ehe
der Maria Braun (1979)_ (qv) (The Marriage of Maria Braun), chronicling the rise
and fall of a German woman in the wake of World War II. Other notable movies
include _Die bitteren Tränen der Petra von Kant (1972)_ (qv), _Faustrecht der
Freiheit (1975)_ (qv), _Satansbraten (1976)_ (qv) and _Querelle (1982)_ (qv), all
focused on gay and lesbian themes and frequently with a strongly pornographic edge.
His death is a perfect picture of the man and his legend. On the night of June 10,
1982, Fassbinder took an overdose of cocaine and sleeping pills. When he was found,
the unfinished script for a version of Rosa Luxemburg was lying next to him. So
boundless was his drive and creativity that, throughout his downward spiral and
even in the moment of his death, Fassbinder never ceased to be productive.
Hintergrund von: Steve Cohn
Geburtsdaten: 31 May 1945, Bad Wörishofen, Bavaria, Germany
Körpergröße: 176 cm
Sterbedatum: 10 June 1982, Munich, Bavaria, Germany (drug overdose)
Familie/Ehepartner:
'Ingrid Caven' (qv) (26 August 1970 - 27 September 1972) (divorced)
Artikel über:
"Cleveland Plain Dealer" (USA), 31 October 2014, pg. T24, by: John Petkovic,
"Cinematheque digs deep with Fassbinder retrospective"
"Der Tagesspiegel" (Germany), 29 Mai 2005, Iss. 18847, pg. S7, by: Christina
Tilmann, "Fassbinders Welt"
"Cineaste" (USA), 2004, Vol. XXIX, Iss. 4, pg. 18-25, by: Tony Pipolo, "Straight
from the Heart: Re-Viewing the Films of Rainer Werner Fassbinder"
"The New Yorker" (USA), 10 February 2003, pg. 102-103, by: Denby, David, "The
Current Cinema: Fast Times"
"Cinema" (Hungary), May 1994, Iss. 30, pg. 46-49, by: Harald Braun, "Szeretetre
éhesen"
"American Film" (USA), July 1985, Vol. X, Iss. 9, pg. 38-40+42+44-45+67, by: Robert
Katz, "Fear Ate His Soul: Afraid of being alone, Rainer Werner Fassbinder created a
tawdry world of hangers-on to fill the void."
"Pop & Rock" (Greece), October 1983, Iss. 68, pg. 42-45, by: Kurt Raab, "I zoi mou
me ton Rainer"
"Der Spiegel" (West Germany), 13 October 1980, Iss. 42, pg. 224-241, "Fassbinder:
"Der Biberkopf, das bin ich""
Biograph.Film:
_Rainer Werner Fassbinder, 1977 (1977)_ (qv)
_Ende einer Kommune (1970)_ (qv)
_"Deutsche Lebensläufe" (2001) {Rainer Werner Fassbinder - Der Rastlose (#3.4)}_
(qv)
Monographie über:
Das Ganz normale Chaos : Gespräche über Rainer Werner Fassbinder, herausgegeben von
Juliane Lorenz isbn 3894872276
Chaos as Usual: Conversations about Rainer Werner Fassbinder, edited by Juliane
Lorenz
Fassbinder, edited by Tony Rayns ISBN 0851700969
Rainer Werner Fassbinder : Bilder und Dokumente, Hans Günther Pflaum, isbn
3894090685
Fassbinder Film Maker, by Ronald Hayman, isbn 029778448X
Thomas Elsaesser. _Fassbinder's Germany: History, Identity, Subject._ Amsterdam,
Netherlands: Amsterdam University Press, 1996. ISBN 9053560599
Bernd Eckhardt. _Rainer Werner Fassbinder In 17 Jahren 42 Filme - Stationen eines
Lebens für den deutschen Film._ München, Germany: Wilhelm Heyne Verlag, 1982. ISBN
3-453-86055-1
Peter Berling. _Die 13 Jahre des Rainer Werner Fassbinder.._ Bergisch Gladbach,
Germany: Lübbe, 1992. ISBN 378570643X
Christian Braad Thomsen. _I Fassbinders spejl._ Fremads Fokusbøger, 1975. ISBN
8755706118
Robert Katz. _Love Is Colder Than Death: The Life and Times of Ranier Werner
Fassbinder._ New York: Random House, 1988. ISBN 0394534565
Aussprüche:
Love is the best, most insidious, most effective instrument of social repression.
Everyone must decide for himself whether it is better to have a brief but more
intensely felt existence or to live a long and ordinary life.
Every decent director has only one subject, and finally only makes the same film
over and over again. My subject is the exploitability of feelings, whoever might be
the one exploiting them. It never ends. It's a permanent theme. Whether the state
exploits patriotism, or whether in a couple relationship, one partner destroys the
other.
I let the audience feel and think.
I'm against caricatures, I'm against parodies;if you say that this scene has the
effect of a parody, then I have to take your word for it, but then I'm ashamed of
myself and I apologize.
The American method of making films left the audience with emotions and nothing
else., I want to give the spectator the emotions along with the possibility of
reflecting on and analyzing what he is feeling.
What I would like is to make Hollywood movies, that is, movies as wonderful and
universal, but at the same time not as hypocritical, as Hollywood.
I hope to build a house with my films. Some of them are the cellar, some are the
walls, and some are the windows. But I hope in time there will be a house.
Typisches:
Leather jacket on set
Frequently cast 'Hanna Schygulla' (qv), 'Lilo Pompeit', 'Günther Kaufmann' (qv),
'Kurt Raab' (qv), 'Irm Hermann' (qv), 'El Hedi Ben Salem', 'Armin Meier' (qv),
'Ingrid Caben', 'Peter Chatel' (qv), composer 'Peer Raben' (qv), 'Ulli Lommel'
(qv).
Frequently worked with cinematographers 'Xaver Schwarzenberger' (qv) and 'Michael
Ballhaus'.
Character named Franz Biberkopf.
???:
"Cinema" (West Germany), September 1981
"Der Spiegel" (West Germany), 13 October 1980, Iss. 42
???Produktionen: _Ein Mann wie EVA (1984)_ (qv)
Triviales:
Son of 'Lilo Pempeit' (qv).
Biography in: John Wakeman, editor. "World Film Directors, Volume Two, 1945-1985".
Pages 318-330. New York: The H.W. Wilson Company, 1988.
_Die Ehe der Maria Braun (1979)_ (qv) was his most successful movie
He made 41 movies in 13 years
Was a huge fan of 'Douglas Sirk' (qv).
_Whity (1971)_ (qv) was his least successful movie.
Member of the jury at the Berlin International Film Festival in 1977
His death is often considered to mark the end of New German Cinema.
A school in Munich is named after him. Ironically, he left school without
graduation at the age of 16 (18 July 2006).
A year before his death, listed these as his ten favorite films: _La caduta degli
dei (Götterdämmerung) (1969)_ (qv), _The Naked and the Dead (1958)_ (qv), _Lola
Montès (1955)_ (qv), _Flamingo Road (1949)_ (qv), _Salò o le 120 giornate di Sodoma
(1975)_ (qv), _Gentlemen Prefer Blondes (1953)_ (qv), _Dishonored (1931)_ (qv),
_The Night of the Hunter (1955)_ (qv), _Johnny Guitar (1954)_ (qv), _Kalina
krasnaya (1974)_ (qv).
Despite Fassbinder's international success and enduring legacy, not a single one of
the director's 23 theatrical films was ever nominated for an Academy Award.
Additionally, only one Fassbinder film (_Lili Marleen (1981)_ (qv)) was ever
submitted by Germany to the Academy for a nomination for Best Foreign Language
Film. Ultimately, the film was not nominated.
Ex-brother-in-law of 'Trudeliese Schmidt' (qv).
Close friends with 'Udo Kier' (qv).
He is buried in the graveyard of the Church of St Georg, Bogenhausen, Munich. The
interior of the church is used in a key scene in 'Michelangelo Antonioni' (qv)'s
_Professione: reporter (1975)_ (qv).
Hinweise: (qv)=quod vide=siehe dort. Ist die Biographie abrupt, s. den 2.Teil im
Index 2 als [_biographie teil 2].
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