¿Por qué corre amok el señor R?

Co-directed by the young Fassbinder (then only 25 years old) with his friend and producer Michael Fengler, 'Herr R.' shows Fassbinder's tendency to get up the nose of the middle class.

Here, in opposition to his more characteristically considered style, a shaky hand-held camera eavesdrops on the eponymous Herr R.(played to perfection by the great Kurt Raab) who is tediously seen at his work, with his wife, during a visit from his parents and the like, while slowly unwinding inside.

Long takes predominate and we are also let into the life of Herr R.'s pretty but equally vapid wife for whom he, in a most affecting scene, buys a record without knowing the singer or song title - much to the shameless merriment of the shop-girls who serve him. Fassbinder keeps the tension tightly wound throughout and it is this knowing sense of what to show and when to withhold that gives the greatest indication that this is the work of a man who was to become one of Europe's greatest film-makers since Ingmar Bergman.

No doubt, many will find the extreme sense of realism and boredom too oppressive but 'Herr R.' has proved to be highly influential on a much later generation of film-makers and still retains the power to provoke and unsettle.

Mr. R. (Kurt Raab) leads a convenient bourgeois life: he has a steady job with chances of promotion, a good-looking wife (Lilith Ungerer), a kid and many family friends. Still, a growing sense of disillusionment and alienation is gnawing Mr. R.'s mind... Is there anything he can do to cope with his mind-numbing life?

The film consists largely of lengthy conversations about the most mundane of things; work, vacations, the son's school, buying a romantic record in a music store... The whole picture is also presented exclusively with long takes and hand-held cameras. The improvised nature of the conversations further adds to the strictly realist documentary-like feel of the movie, as does the intentionally dull cinematography. With such undramatic direction, the only detail to suggest the advancement of Mr. R.'s emotional alienation is Kurt Raab's subtle performance: Mr. R. alternates between sullen observing and unrestrained blabbing, and when the camera occasionally focuses on his face instead of his chit-chatting friends, one can get a creepy feel of slowly escalating anxiety inside him. Lilith Ungerer as his wife also displays faint hints of similar emotions, but keeps them tightly hidden under her shell of excruciating normalcy.

When a film is titled like this one, some kind of dramatic ending or plot twist can be expected sooner or later. Here it only happens at the very end; until the last 10 minutes or so, the film is completely G-rated. The scene preceding the twist is the best one in the whole film and achieves a very distressing atmosphere, but still, the twist itself comes across as rather predictable and even lackluster. Perhaps it is just that modern audiences have become desensitized to such incidents, but more oomph would have been needed to justify the preceding 80 minutes of practically nothing, as Mr. R.'s boredom has also become ours by the end.

Even though there's not much to see besides the lead couple's performance, I have a taste for this type of uneventful, talky cinema. Ultimately Warum... was a curious novelty to me and kept me intrigued throughout, but I'm somewhat wary of recommending it to more casual film fans; something like Michael Haneke's 71 Fragments of a Chronology of Chance could be a more easily accessible take on the subject. Then again, if you know what to expect, Warum... may also be a rewarding experience in mundanity that many can surely identify with – you have to make up your own mind based on your tastes.

Sometimes a film is not 'boring', it's actually a study on boredom as societal satire; a disarmament of psychological setting -- a slow-motion, funereal-paced race to the ugly punchline. The funniest jokes require patience and an ability to listen.

Fassbinder pulls it off marvellously in 'Why Does Herr R. Run Amok?', one of his best early films, from 1970. This particular punchline connects as hard as a blow to the back of the head.

If a life can only be understood backwards, this film parodies the theory by emulating it.

Fassbinder's nihilism knew no bounds.

The idea that the human being is a Kosmos of his own, is know since the times of Romantics, at last. The even stronger theory according to which the human was been created after God has become a common feature of Christian religion. However, it has taken almost two thousand years before the philosopher Gotthard Gunther has stated that between an "I" and and "Though" there is exactly the same qualitative difference as between the human and God. On therefore has not to travel to the edges of transcendence in order to experience what a con-texture border means, it is sufficient to learn that insight into a Thou is excluded on principal reasons. This turns out to be important in all those cases where even close friends of a human become shocked and react in a way similar to: we would never have thought that he could do that.

Another problem, perhaps in a certain perspective even more delicate, is the border between a deed in thought and a deed in fact. Many people kill others in their wishes, dreams, they even say it without meaning it. On the other hand, some people would never say it, but then there is a moment when they do it. What is it that causes the transgression between thought and deed? R.W. Fassbinder presents a fully uncommented, non-condemnatory approach in "Warum Läuft Herr R. Amok?" (1970). Up to a certain degree, the absolute free speech which gives the illusion of everyday-conversations observed by a candid camera, has the form of a Brechtian "Lehrstück", however, there is no wagging finger to sense in this movie. The spectator is elevated into the position of the judge - if he really still thinks that the deed of Herr R. can be judged after having watched and understood the movie. The spectator even becomes a part of the movie, without him the communication scheme is incomplete. He is the receiver of a message from whom not even an answer is expected, but a revision in thinking on the basis of which has been presented to him. "A good movie is a movie that does not stop when people come out of the cinema, but continues in their heads", Fassbinder said once.

With slicked-down hair and three-piece suits, dependable Herr Raab is a technical draftsman. He gets along with his colleagues although his boss wants him to go beyond technical cleanliness to problem solving.

Although Fassbinder is credited as writing and directing this film, it has since come to light that he probably did neither. The writing was largely improvisation, and the directing was exclusively Michael Fengler (a longtime Fassbinder collaborator).

Frankly, I am glad that this is not a real Fassbinder because he makes some excellent movies... but, for me, this would not be one of them. It just runs on, with people rambling for the entire duration. The reviews tend to be positive, but I see it as a film where nothing happens. And not in a funny way, just in a very pointless way.