Fontane Effi Briest

Theatrical rigidity becomes part and parcel of R.W. Fassbinder's fetchingly monochromatic period drama, an adaptation of Theodor Fontane's novel, EFFI BRIEST, predominantly accompanied by its own author's ur-texts in voiceover, narration or title cards, stars Hanna Schygulla as our titular heroine, a Prussian young girl consents to the marriage proposal of Baron Geert von Instetten (Schenck), a former suitor of her mother Louise (Pempeit), out of a desire for prestige, although she is only 18, and her husband is over twice of her age.

Fassbinder stridently retains its source novel's poetic realism through the film's gorgeous costumes, furnitures and a repressive air of solemnity, a matter-of-factness in probing into Effi and Geert's turbulent and unbalanced marriage, wherein a trophy wife's seemingly perfect life is under constant gaslighting and doctrinaire manipulation from her haughty husband, and Fassbinder counterintuitively keeps a perverse remove from key incidents, totally relies on wording to elucidate thoughts and relentless long takes to consistently test audience's patience, it is a bold move, but on the strength of the picture's uncannily stylish compositions (mirrors and doors are key partitions to transmit the despondent feeling of alienation, detachment, even cruelty)...

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In the nineteenth century, seventeen year old Effi Briest is married to the older Baron von Instetten and moves into a house, that she believes has a ghost, in a small isolated Baltic town.

Similarities between "Effi Briest" and 20th-century Germany were easily found, helping to explain the popularity of the book and its subsequent film adaptions there. During the 1970s, West Germany was being racked by civil unrest as people sought to effect change, among these movements was the women's civil rights movement, which became a major influence for the film, as it compared the repressive nature in society between 19th century Prussia and 1970s West Germany.

Fassbinder is one of the giants of new German cinema (by "new" I mean post-WWII), and here he demonstrates his prowess. Epic in length, using black and white to its fullest extent... this is one of those films that made him great, even if it may not be the most-remembered of Fassbinder films.

This film has everything one could ask for: astonishing visual intelligence and imagination, wonderfully evocative, impeccably composed images that draw on silent cinema and painting, all perfectly adapted to the very moving story being told, and the period/milieu in which it unfolds: Effie Briest is presented as enclosed in the many different spaces (most of them - especially the interiors - saturated with stifling formality, social rectitude and conformity) through which she moves and in which she lives, or tries to live (the bird in the cage being a transparent symbol of all this). Quite simply, Fassbinder knows - knew - what "mise en scene" really means. The passage of time is brilliantly handled (through, for example, the use of the fade to white, intertitles and a moving voice-over narration), and the cast is flawless, as well as being flawlessly directed. A film of immense dignity and power, yet it somehow remains understated...

I consider Rainer Werner Fassbinder to be the single most overrated director of all times. I have desperately tried to understand what all the fuss is about when most of his movies seem like movie Experiments gone badly wrong. Effi Briest is at least an accomplished movie with a unique style, although at 2 hours 15 minutes it's pretty slow and overly long.

Fassbinder being an eccentric artiste, couldn't just use the title of the novel but came up with a monstrous title (which the IMDb spellchecker doesn't allow me to quote here) that doesn't make much sense in German, but seems to give the movie a Marxist twist (it alludes to "many know their possibilities and requirements but chose to support the ruling system"). The title is usually mercifully shortened to just "Fontane Effi Briest".

At the time, the sound recording of films was still a considerable technical problem, so that the entire film was dubbed (the voices and partially also the background noises were re-recorded in a studio and added to the film in post-production). The dubbing was done very meticulously so that the voices are in perfect synchronicity with the lip movements. The voices are in several cases not of the actual actors, for example Eva Mathes was dubbed by another actress, and voiced yet another actress). This gives the film a touch of artificiality and a sense of heightened reality, which goes well with the slow pace of the story.

So, for a Fassbinder, it's a surprisingly watchable movie. At the same time, there is no narration, no tension, nothing is building up to anything. It's love it and sit through it, or switch off the video.

Interestingly, Fassbinder also has no intention of putting a new angle on the jaded story of the romantic girl falling victim to an uncaring world. I would love to see Effi as a competent woman trying to make her own rules, or even as a femme fatale for a change.

Exquisite black-and-white photography, gorgeous costumes, stunning landscapes, and actors photographed in mirrors and through laced-curtains are the highlights of this emotionally distant film. It is true, however, that the leading actress has her cathartic scene, but it comes late in the film. Too late to really make one care about the spoiled, rich young lady. But this is Fassbinder, and Fassbinder is always watchable, even at his most pretentious. One joy of this film is the presence of Irm Hermann, who can do more with one glare (she doesn't need dialogue as "The Bitter Tears of Petra Von Kant" proved for all time) then any actor I can think of. Schygulla and the other actors are mostly wooden. The beauty of the scene with the starkly handsome Lommel as the rich major and Schygulla picnicking at the beach makes one forgive the shortcomings of the film.