Desesperación

One would expect a combination of Nabokov and Stoppard would result in amazing cinema. Unfortunately, "Despair" does not count as great cinema, not even as a great Fassbinder film, even though it is a rare Fassbinder film made in English with a German locale. (The problems are similar to Malick's "A Hidden Life": here, too, people except Bogarde, speak English with a heavy German accent.)

Vladimir Nabokov wrote his novel "Despair" as a spoof of Dostoyevsky's "Crime and Punishment." The script includes lines referring to Dostoyevsky and Arthur Conan Doyle. "Despair" the film falls short of achieving/adapting the greatness of Dostoevsky or Conan Doyle. It is possibly because for Nabokov and Fassbinder the mental state of Herman (Bogarde) is paramount than the tale itself.

The audience struggles to come to terms with a clean shaven Herman suddenly sporting an elegant moustache in between sequences. If it was a fake moustache, the audience is not prepared for it by Fassbinder. Or were scenes edited out in the final cut?

Fassbinder was evidently quite familiar with Nabokov. Nabokov wrote Lolita with a lead character named Humbert Humbert. Fassbinder extrapolates the idea in "Despair" (or was it Stoppard?) by calling the lead character in "Despair" Herman Hermann, when Nabokov called him just Herman.

If there was one outstanding aspect in this film it was cinematographer Michael Ballhaus working with mirrors and glass panes in doors. One great shot, creditable to Fassbinder and Ballhaus, was of two Jews continuing to play chess at the street cafe as a Jewish shop is attacked by Nazis followed much later in the film by a distinctly similar shot of the same Jewish duo playing chess with non-distinctive clothes.

Another important aspect of the film is Fassbinder 's dedication of this quaint work to three mentally unstable geniuses: Antonin Artaud (the actor/playwright who introduced The Theatre of Cruelty) , Vincent Van Gogh (the painter who cut off his ear) and Unica Zurn (a painter famous for her paintings of torsos bound with string). And lastly several actors in this film and those supposed to play originally in the film were openly gay as was the director..

Shot in English on a budget that nearly equaled the cost of his first fifteen films, Rainer Werner Fassbinder's Despair has wit and style yet its attempt to recreate the dark, comedic genius of Vladimir Nabokov left me unmoved and uninvolved. Based on Nabokov's novel Despair (apparently intended as a parody of Dostoevsky), and adapted for the screen by Tom Stoppard, the film describes the descent into madness of wealthy chocolate entrepreneur Hermann Herman (Dirk Bogarde). Set in Germany on the eve of the Third Reich, scenes of the Nazis assaulting Jewish-owned businesses are sprinkled throughout the film but to no apparent purpose. Herman has left his Russian home to live in Berlin and constantly fantasizes about the beauty of the Russian winters and whispers `Russia, which we have lost forever...' to his wife, Lydia (Andrea Ferreol). He is a thoroughly unsympathetic character: cold, calculating, and cynical and Mr. Bogarde's exaggerated mannerisms do not make him any easier to appreciate.

Much of the film takes place inside Herman's stately bourgeois home. Shots of the characters through glass partitions keep the viewer at a distance and the elegant interiors look like an abandoned mausoleum. Lydia's and Herman's relationship is unconvincing and Fassbinder's repeated descriptions of Lydia as an unintelligent sex object border on misogyny. "The flowers of your sensuality would wilt with intelligence," Herman tells his wife whom he always addresses with condescension. In addition to Lydia, we gradually meet other vivid supporting characters: Lydia's cousin, Ardalion; and Dr. Orlovious, an insurance salesman whom Herman mistakenly thinks is a psychiatrist and opens up to.

Herman is convinced that Felix Weber (Klaus Lowitch), a laborer, resembles him as closely as "two drops of blood." though the resemblance is tentative at best (a joke Nabokov wisely saved for his readers until the end of his novella). He has an odd compulsion to observe himself as a stranger and devises a plan to commit the perfect crime, exchanging identities with the worker as a means of escaping his existence. Felix, on the other hand, decides to humor the eccentric Herman with the thought of getting a job. In Despair, Fassbinder constructs a world in the process of falling apart where people march inexorably toward self-destruction and where the journey into light proves to be an illusion. In a world approaching madness, however, Hermann seems to fit perfectly -- no more, no less crazy than the insanity occurring around him.

Dirk Bogarde stars in this 1978 Fassbinder film as Hermann, a chocolate factory owner living in Berlin during the Weimar Republic who suffers from dissociation. He dreams of escape. On his travels he meets a homeless man who he thinks can imitate him in a scam. This will involve his faked murder so that he can escape his life. His wife will then receive a substantial insurance pay out because of his supposed death. In reality Hermann will vanish to Switzerland, live below the radar and start a new life. Will Hermann's plan go without a hitch?

I love the mystery of this film. It really is a puzzle of a film and sweeps us along on it's gorgeous journey. Twist follows turn and back again.

The whole cast are perfect with Dirk Bogarde being perfect as Hermann. The screenplay is brilliantly adopted from a Nabokov novel by Tom Stoppard with snappy and wicked dialogue that positively crackles.

The look of the film is muted and also beautiful because of it. It lends massively to why the film works so well as it's visually and uniformly a treat for the eyes. Enjoy the ride which will keep you guessing until the final frame.

Fassbinder turns Nabokov into a multi-level visually stimulating art piece that is challenging to the mind, and where mirrors play with dreams and reality, insanity and absurdity, and a complex geopolitical situation in Nazi Germany. turns Nabokov into a multi-level visually stimulating art piece that is challenging to the mind, and where mirrors play with dreams and reality, insanity and absurdity, and a complex geopolitical situation in Nazi Germany.

Rainer Werner Fassbinder is a difficult director to love or hate. For every exceptional and original film he made (such as "Ali: Fear Eats the Soul" and "Mother Kusters Goes to Heaven"), he then made two which were bizarre and artsy...and the sort of stuff most folks would hate ("Querelle" quickly comes to mind). To me, "Despair" falls into this latter category...a film the average person wouldn't normally see in the first place but which they would hate. And, a film that artsy folks would adore. I like some artsy films but found this one interminably boring even though it stars one of my favorite actors, Dirk Bogarde.

The film is set in the final years of the Weimar Republic...during the rise of the Nazis in the early 30s. Herman (Bogarde) is a Jewish Russian emigree who owns a successful candy company. However, he appears to be losing his mind through the course of the story and he has a strange obsession that a homeless man is his doppleganger....even though the man looks little like Herman. At first, Herman befriends the man and offers him a job...later you learn that Herman's kindness is a mask for his own sinister plans.

For me, watching this film was about as much fun at staring at the wall for 90 minutes. Slow and plodding beyond belief as well as nonsensical, I simply found watching this strange film to be nearly impossible the more I watched.