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In the case you've seen a lot of Fassbinder's films, this is worth a shot. You will definitely not be bored, so there's that. The film can be abrasive and there really aren't any likable characters. If you don't like that kind of stuff then avoid this. I can't blame you. I hated the first hour, then I reluctantly started respecting it, realizing that it was a satire and black comedy not a straight drama, pi**ing on the myth of the artistic genius and the wide berth we grant them (or did before the Me Too movement).

This protagonist actually reminded me a lot Pablo Picasso, a notorious wife-beater and all around jerk. Of course no would pay to see their sacred cows brought down a peg, so we have stand-ins like this guy. But the critique still works.

It's a biographical film, but not of the typical hacky kind that every director seems to make. Fassbinder had undoubtedly seen a lot of sycophants and brainless hangers-on in his life, self-aware enough to sense how full of **** people were when they were in the presence of a celebrity, knowing that he really could only trust a few people, compelled to "develop" and chronically produce or become irrelevant. Fassbinder would know. He died after making forty films in a decade, his heart exploding from too much coke.

If this film were made in English, I have no doubt it would be a cult classic. Fassbinder ups the comedic ante more-so than I've ever seen him do before. Granted it's still black humour, but its his own blend of slapstick and dark comedy. Picture a. theater of the absurd, almost put forth as a farce, but with Fassbinder's usual biting sarcasm and cynicism, and ultimately leading to an eruption of statements about the psychological limitations of admiration and desire. A familiar theme in Fassbinder's work. In fact, the whole movie plays like a joy ride through professional and relative oblivion, only the characters and the actors seem to be enjoying themselves throughout countless identity crisis, dead flies posing as relatives, simulated sexual murder and what-not. Heh.

This is Fassbinder going for slapstick comedy, sort of. Everybody seems to have taken too much coffee or something in this movie. As I had seen some of his heavier stuff, this came as a very welcome surprise, with a quicker pace and some belly laughs. One of his best!

I can't give Fassbinder less than a 6 or 7 for anything. this "screwball comedy" effort is nothing if not unique. it has a very fast "noises off" type quality and might play better on stage with lightning quick changes/entrances and exits etc.

as it is... it's not unamusing but I have to admit I was ... not any more impressed with it the 2nd time I saw it than I was the first. "mannered" would be another word to describe it. the phrase "busy busy busy" also comes to mind. it would not have suffered from having the Volker "Ficken Fliegen" character removed and the enormouos number of times people spit at one another might have been lessened to no loss of comedic effect.

for me "the bitter tears of petra von kant" is a brilliant but very black comedy. this more overt "haha" attempt to deliver laughs... falls short in a lot of ways, leaving various components with elements left to be desired shall we say... yeah I guess I feel certain that a somewhat toned down version of this film would be a superior one.

still just for originality I'll give it a 7

Rainer Werner Fassbinder's 1976 dark comedy that for all intents & purposes is not for everyone. A sardonic writer is strapped for cash & looks for any way to refill his coffers. He lives w/his dying, neglected wife & his brother, who is virtually non-communicative, loves to play w/dead flies & occasionally pinch the breasts of any strange woman who visits their apartment. Our anti-hero may not share his bed w/his hausfrau but he does invite a hooker over to the house for love-play (his wife has to foot the bill) & he tortures a number of sycophants (female of course) who fall sway to his supposed powers of verse while bilking them of any funds they have on hand. Not to mention the fact he killed a woman in the first reel & an annoying police detective keeps coming around sniffing for clues. More of an attack on creative pursuits (in this case the artistic scribe) than an out & out laugh-fest, this is an excoriation of all things literary (at one point our blocked writer declares he has broken through & begun writing again only to be found out he's merely a plagiarist) w/all the attendant lunacy & fake hosannas mere mortals thrust onto writers when in reality there may be no there, there. Not a particularly likeable fable to be sure, this film still should be screened for those Fassbinder's completists (for a man who made so much in so little time before his untimely demise) hoping to gain some insight into the man's work & his outlook on the vaulted elite.

I definitely understand, that this film is not for everyone, but I also have to say it is one of my all time favorites and there are not many movies i have seen that often. In fact every time somebody new steps into my live, I have to watch this movie with him, and i saw every possible reaction meanwhile.

But still, this is my favorite Fassbinder movie and this for several reasons. The most important of these is, that the movie has a rhythmical quality from the beginning to the end. Also there are literally hundreds of remarkable quotes inside. It is black humorous, funny and the overacting is terrific. It is amazing how Fassbinder manages to change the mood radically from scene to scene, how he is playing with emotion, speed and dynamic.

Of course people who are interested in Fassbinders historic post war movies and expect something like that will be disappointed, but if anybody is interested in the absurd elements, that appear in most of Fassbinders movies, Satansbraten gives you the possibility to enjoy them to the fullest. So get some friends, watch this movie and have a good time seeing lots of grown up people jumping around and repeating words for at least three times. Geld Geld Geld.

Rainer Werner Fassbinder was one of the leaders of New German Cinema in the '70s. His movies often dealt with post-war Germany and how it sought to atone for its sins. Otherwise, he simply depicted shocking things. An example is 1976's "Satansbraten" ("Satan's Brew" in English).

This movie focuses on a writer who hasn't written anything in a while, his acquaintances, and some zany occurrences. If you think of German cinema as no-nonsense and grim, Fassbinder's comedy will show you that this is not always the case. Mind you, it's not silly comedy. More like shocking stuff with a humorous element. It certainly manages to keep the audience engaged.

Basically, Fassbinder gave us some of the best that German cinema has ever had to offer. This mix of anarchic comedy and serious drama is an experience like no other. Definitely see it.

According to the description on the DVD I received of Satan's Brew from netflix this was the first actual full-on comedy that Rainer Werner Fassbinder directed. I imagine watching the film that it was something that was building up in him and basically, in a near literal expression in his art, exploded. This film is about as kinetic and sharp-tongued as Marx Brothers, as insane as the best Mel Brooks, and even has some of that completely f***ing gonzo sensibility that one only finds with other tales-of-writers like Fear and Loathing in Las Vegas which has little to do with actual writing and mostly to do with how far its creative genius will go in excess and other "shenanigans." I can probably make more comparisons, but it might be unfair to the success Fassbinder pulls off here: it's as inspired as all of those, but it's all him, his natural excesses and *big* personality coming out in the cracks (big cracks) of the story and the character Walter (Kurt Raab).

Simply put, this movie is not just funny, it's hysterical. It's so hysterical that you'll laugh at yourself while laughing at what's going on on screen. Fassbinder's tale of a writer who hasn't written in years, spends all of his advance money on whores, has a lunatic brother obsessed with flies and having his way with them, has a wife whom acts more like a mother than anything (albeit she reminds him it's been 17 days... no, 18 days since sex last happened), and then at the end of his rope financially and mentally and with a really (more than relatively) crazy sycophantic woman following him everywhere he goes turns to pretending he's a homosexual 19th century poet, is like a loaded baked potato. Really loaded; you'll wonder where something might suddenly pop, until something else interesting happens - Fassbinder will write his characters and direct his actors in moments of seriousness, taking us into moments that do feel real and not just super absurd pieces of German theater.

Suffice to say it helps that Fassbinder has the exact right person to play this unlikely (very unlikely) anti-hero with Walter: Kurt Raab has a look that is devilish, diabolical, slightly seductive and with the possibility of violence or the unexpected at the drop of a hat. He's also as funny as the material can get him to be, which includes saying random lines like to a leering restaurant patron, "Quiet, you person!" Sometimes just his demeanor is amusing, and also frightening and highly charged; he is in a way like the Cartman ala South Park for Fassbinder, as a figure who is pretty twisted, verging on if not just evil (dont assume anything with that opening murder!), and surrounded by a league of people who he can manipulate or feel crossed by or just not know what to do with (his "biggest fan" whom he make walk out in the cold in a thin raincoat or stay under a friend's rug). Just watching him react to the brilliant actor playing so over the top the fly-fixated brother is classic stuff.

Towards the end it becomes grim, and possibly stranger than ever. It's also overall not something you'll want to show your mother (unless, you know, your mother is a Fassbinder fan or into crazy German cinema). But for a certain niche audience it's about as uproarious as any anarchic comedy, and in fact as beautifully directed as anything of the great slapstick or surrealist days. In this case, they go hand in hand; it's one of the director's very best. A+

Kurt Raab is some sort of a writer. His publisher won't give him another advance, so he gets a check from one of his mistresses, then shoots her. Helen Vita is his frumpy frau. Volker Spengler is his brother who collects dead flies and and pinches the breasts of all visiting women.

This is, of course, a comedy from Rainer Werner Fassbender, and if there were anything but disgusting behavior, as Raab goes about having sex with everyone but his wife, stealing their money, and whacking his brother on his bare bottom, it might actually be funny.

All comedy has at its basis some transgressive behavior, but there seems be no norms in Fassbender's cinematic world for anyone to rail against. There is no society to disapproves of Raab's actions, no foe to fight against, no consequence to any of his actions. Without resistance, there is no tension, and thus no relief to make the audience laugh. There's just Raab behaving like a jerk, and everyone is fine with it.

There is a certain amount of auctorial sneering at the behavior, but that is the lowest sort of humor, the straw man butt of the joke. Once that is apparent, such jokes cease to be funny. They become sad and repetitious.

That realization occurred to me very soon in this movie, perhaps as late as the 15-minute mark. It then continued for another 97 minutes.

Fassbinder can be funny (FOX AND HIS FRIENDS) but this is about as funny as a heart attack. Right up there with MOTHER KUSTERS GOES TO HEAVEN as his worst, and I've seen about 20 of his films.

I had seen quite a few Fassbinders when I came across this one and was blown out the door. It is not only one of his funniest film, but a kind of humor that is really unique. Of course, being Fassbinder, it is dark, but there's also a sense of the darkness becoming comical in its haphazard unfolding. Smaller characters emerge and add depth. This isn't the usual RWF setup where one or two characters disintegrate under a microscope. This work's phenomenal density is all the more astonishing given Fassbinder's tremendous output (and ironic given the plot is about a blocked/dysfunctional writer). Don't miss this.

...a bonafide screwball comedy. I love this movie mainly because it is nothing like Ali:Fear Eats Soul, Fear of Fear, or Martha. Those movies are excellent but most directors stick with what they know they are good at. This movie is like getting hit in the back of the head with scrambled eggs.

The plot is about a deadbeat yet famous poet played by Kurt Raab who is plagued by writer's block. He gets into trouble fuelled by his idleness. During a brief moment of creativity, he discovers he inadvertently copied word for word Stefan George. That makes him believe he is morphing into George but there is a problem when it comes to sexual preferences. The scene where he learns he is not George is hilarious. So are the scenes with Margit Christansen who is totally unrecognizable from the other roles she played in Fassbinder's movies. She plays a groupie to the poet who gets mercilessly abused psychologically by him and physically by his idiot younger brother played by Volker Spengler.

The humor can get extremely crass and its not for everyone but I enjoy it.

Well Germans aren't really known for their comedy. Regardless, as the other reviewer said, this is RWF's absolute worst film ever. I don't know what kind of drugs and booze he was on when this was made but it certainly wasn't his regular Remy/cocaine/ hallucinogenics cocktail. Despite his penchant for self abuse all the drugs and brandy somehow worked in his favor at other times. Not here. Fassbinder is an absolute genius artist, one that appears once in a very long time but this one is complete rubbish.

Everyone can make mistakes but the remarkable thing about RWF is that some mediocrities notwithstanding, most of his vast output is really, really good. This is the bottom of the barrel. Therefore... don't waste your time. He has 20 other films which range from good to mind- blowing.

Satansbraten is a firework of grotesqueness. So over the top that you wonder if Fassbinder himself had gone mad. Kurt Raab delivers a performance that is beyond imagination - an acting chaos that is so brilliant that he should be awarded a medal for it. He literally outgrows himself and delivers a portrait of a failed artist who staggers between genius and madness. Peppered with absurd wordplay and the finest allusions to old dramas and forgotten literature... it's like an imposition - but in the best sense of the word! Unbearable, shrill, loud, and yet a masterpiece. Fassbinder holds up a distorting mirror to all of us while we vacillate between laughter and bewilderment. Satansbraten is not for the faint-hearted, but a must for anyone who enjoys art, kitsch and a good dose of madness. A film that is simply incomprehensible in its madness - and that's exactly why it's worth seeing!

It seemed as though the film crew was inebriated during the entire filming. When a drunk sobers up he finds that what seemed like masterful writing is actually junk! I kept hoping it would improve but it stayed at an unfortunate one rating.

So this is a warning that this film is terrible and without any saving grace. I admire Fassbinder as a director and he has made some fine films but for some reason he lost it on this one.

It is supposed to be a comedy but I found no humor in it, black or otherwise. Even the nude scenes don't help the film. There is absolutely no story line or reason for making this film.

RWF has a gross yet sly sense of humor here. I was more a fan of his Sirkian, overheated sensibility but this quickie, ensemble piece is memorable for some scenes and performances. With the current, streaming flood of quality new offerings I fear there won't be an audience to discover and view the past somewhat challenging filmmakers. One of the seminal gay filmmakers is forgotten among the plentiful new gay cinema. Lesser RWF but that gag about 30 min in is wicked.