El mercader de las cuatro estaciones

The Merchant of Four Seasons isn't what I would call a happy movie, at all, or even one that impressed me to the point of praising it to the sky (there are other Fassbinder flicks for that, like Veronika Voss and the underrated Satan's Brew). But it's certainly no less than a fascinating experiment in taking a look at those in a society that you and me and others we know might possibly know, or not really want to know. I imagine in the early 70s in Germany a generation, coming out of WW2, had a stigma to live with but tried their best just to get by. This is a stigma that floats all over this film, and in many instances in Fassbinder's work in general, but especially because with Four Seasons he takes his eye on the middle class, and a particular married couple- the distanced, depressed, angry Hans the fruit seller and his long-suffered wife- that is nothing short than trying for realism in the guise of melodrama. If Cassavetes were a crazy German he might make this film, maybe even as just a lark.

The story sounds simple enough, where Hans' drinking gets out of control, he beats his wife (this scene is one of the toughest to take, maybe in just any movie, the way Fassbinder's camera lingers without a cut as his wife is left helpless and their daughter trying to stop him in his frenzy) and then she's ready to leave him. As he stands in the room, her family holding him back, she makes the call for divorce and he gets a heart attack right there. He recovers, his business suddenly starts booming again with some help from some good (or not so good) employees - and yet this only continues his longing, for another woman, and his despair in general.

And yet it's in this simplicity that Fassbinder tries, and succeeds for the most part, in attaining a mood of dread, of a tense vibe in a kitchen or in the bedroom or out on the street that you can cut with a knife and bleed out. The weakest part of this all may be the acting... at least that was my initial impression. Hans, played by Hirschmuller, can be a stilted presence, with only the slightest movements in his face and eyes, and for a while it doesn't look like he's much of a good actor. The actress playing his wife, Irm Hermann, and her sister (Fassbinder Hanna Schygulla) fare better, but only cause they're given more to do conventionally, like cry or look concerned. It takes some time to adjust to what is, essentially, a void in his guy Hans, of something from his own psychological self-torment or self-pity that pervades himself and those around him who just want to get on with some sense of normalcy, especially once Hans gets successful.

Not everything clicks together in The Merchant of Four Seasons, but enough did to make me recommend it to those looking for a different slice-of-life than you might be used to with more modern American movies. Fassbinder's world here is a combat between the melodrama he loves in cinema and the harsh, crushing sense of humanism that he feels personally and puts into characters that, for better or worse, we somehow identify with. Are the Epps a family you know of? Or could you even be them? Who's to say. It's a methodical study of tragic emptiness in the human spirit, and its goals are all attained.

About a man who lives life in a permanent crisis, don't we all these days - captured through portraits and pictures that could stand by themselves in any art gallery. A work of genius by a genius.

THE MERCHANT OF FOUR SEASONS was Rainer Werner Fassbinder's first shot at mainstream acceptance. In a turbulent career of just fifteen years, he managed to create an astounding body of work in film and theater, both as a performer and a creative producer, actor, and director. Although this movie might not appeal to many viewers, the film has much to offer. The storyline is fairly straightforward. A man is ostracized from his upper middle class family due to emotional and economic problems, and proves unable to control his downward spiral. THE MERCHANT OF FOUR SEASONS is shot with a slavish devotion to elegant detail, and each set is very carefully designed and constructed. Every object on set seems painstakingly arranged so as to provoke layers of emotional texture. Many religious paintings and icons decorate the walls of the various rooms and seem to speak to Hans's desperate quest for spiritual meaning or direction in his life. Much thought was given to how lighting and color were employed to contrast and enhance the drama. Several times during the film, I froze the frame to marvel at the beauty of the shot's composition. I streamed this film, and the print was nearly flawless and second to none. Fassbinder employs his actors in an almost vehement "Anti-Natural' style. He does everything possible to prevent the actors from reacting in a normal or colloquial manner, and this creates a rather stilted effect. However, by doing so, he injects an almost 'hyper-reality' to the narrative. Rather than the presentation of a mundane melodrama, the actors almost militant lack of affectation forces the viewer to confront the film in a different manner. Fassbinder's film intentionally prevents the viewer from easily connecting with the characters' trials and tribulations. You are constantly on the outside, looking in. This will be a disconcerting experience for many, but I found it to be a unique and satisfying artistic adventure.

If I squint, I can see the influence of Douglas Sirk on this Rainer Werner Fassbinder soaper about fruitseller Hans Hirschmüller. He's cast as a failure, because he doesn't live up to the middle-class aspirations of his family. He runs away and joins the Foreign Legion. He returns and joins the police, but is kicked out for consorting with a prostitute. His one true love can't marry him because of his work, although she meets him for assignations. In between, he has a shrewish wife in Irm Hermann, in-laws who despise him, a heart attack, and his gradual erasure from his own life to contend with.

However, while Sirk's most famous work in the 1950s tinges his disapproval of the post-war middle class with sympathy and wonderment at peoples' refusal to admit what they want to to be happy, Fassbinder seems angry and contemptuous of his subjects. Hirschmüller is too passive, Miss Miss Hermann plays the victim card too aggressively, his family arrant, mealy-mouthed snobs, and so forth. There's no one to root for in this. There's nothing tragic about his inevitable destruction, only a sadistic, scolding examination of all that Fassbinder finds wrong with mainstream society.

I didn't find this film as accessible as 'Fox & his Friends' but it was a moving portrayal of a typical Fassbinder victim figure, the eponymous barrow-boy, Hans Epp, whose hopes and dreams are eventually crushed by stultifying conformity (family & society). Some of the scenes are exaggerated (the family confrontations) but I particularly liked the sequence where Hans is desperately searching for meaning & comfort; he tries to find some peace in natural surroundings, goes back to his first lost love in order to recapture past feelings (she's only interested in a quick fling before her husband returns) and visits his sister, perhaps the only person who has any degree of sympathy for him, only to find she's too busy with work.

A poignant story of a vulnerable inarticulate man crushed by his mundane surroundings and bourgeoise, middle-class German values obsessed with economic success and a upward mobility that conveniently papers over the cracks of its more disturbing past.