Fassbinder was a filmmaker as erratic as he was prolific, and that volatility remains a fundamental part of his enduring genius; the forthright emotional candour and the raging political angst together leaving a legacy of electrifying potency. Yet there are numerous moments in his brash, schizophrenic oeuvre that suppress that mercurial temperament enough to allow the supreme technician within to take centre stage. This musical interlude from his penultimate feature, the postmodern noir "Veronika Voss" (1982), is possibly the greatest of these moments. In two-and-a-half utterly beguiling minutes, the director masterfully interweaves the film's principal concerns (spectator vs. spectacle; the pre-eminence of artifice; the creation of the image; prisons, both psychological and physical; celebrity, desire and destiny) in an orgiastic cavalcade of light and shadow - all the while elucidating upon the relationship between the titular chanteuse and the human leeches that orbit her. As broken dreams and shattered illusions crystallise in the shape of rain-soaked (read: tear-stained) windows, Fassbinder stakes his claim to greatness before surpassing it altogether. With this brief but brilliant display of artistry - an exercise in precision and control where every shot selection expands and embellishes the melancholic drama - cinema's reigning enfant terrible achieved only this: perfection.
http://reehanmiah.wordpress.com
@achia85
...and what an Actress! Rosel Zech give us such a heartbreaking performance. She's so charismatic and fragile at the same time. And her beauty is dazzling, Fassbinder really knew how to adore a talented actress. You can feel pure love through every frame.
R.I.P. Rosel Zech (1942-2011) & R.W. Fassbinder (1945-1982).
AlexanderFuSheng 6 months ago 3
what a scene...what a movie..what a director..
achia85 1 year ago 2