Le droit du plus fort

Fassbinder is an acquired taste in every sense of the word. It took me awhile to be able to fully digest and appreciate his films, and even then it can be difficult.

Fox and His Friends is one of his "accessible" movies, but Fassbinder at his most accessible would probably highly alienate most movie goers.

I've seen this movie 3 times. The first time I thought "that was a good Fassbinder". The second time, I thought the same. The third time, I realized it was brilliant. It might be because I recently bought the amazing dvd, which has an excellent transfer. Fassbinder made his films quickly, very quickly, so a faded old videotape sometimes seems to reflect that. However, when seeing the crisp DVD I realized just how great the camera work was and how well-planned out the movie was.

This would make a good starting point for entering the world of Fassbinder I would think, it has it all: well-framed shots, black humor, and an extremely depressing ending. Depending on how much you can relate to this sort of thing, I would recommend checking it out.

p.s. The last scene was later homaged in My Own Private Idaho (another great movie) and Fassbinder gives a really good performance in the lead.

The main point of Fox and his Friends seems to be that money corrupts the chances of meaningful human interaction; and the movie has a lot more going for it, there's a deep aesthetic richness, quality of textual reference, and it has the pulse of relationships.

Franz aka Fox is a circus entertainer who wins the lottery and is then fleeced by those whose love he aspires to.

I found myself admiring Fassbinder and Ballhaus' homages to Sternberg, taking the slatted light of Mogador (Morocco - 1930) and pouring colour in, so that the Moroccan street looks like late Bridget Riley. Following on from Welt am draht two years earlier another of Dietrich's iconic moments under Sternberg's gaze is referenced (Dishonored in Welt am draht, Shanghai Express here), pallid mockeries full of weltschmerz (weltschmerz heaped on weltschmerz), a sense that life might be better.

It's quite easy to get carried away with the design, to see the movie as a parade of yellow dresses and peach-coloured flowers. There's a relentless gay aesthetic, for example Eugen, the dandy entrepreneur who grifts fox, has a poster for The Prince of Homburg in his flat, the ambisexual play by high-strung Heinrich von Kleist, whose search for the ideal, seems to govern Eugen's private life. Eugen is an unpleasant man, there's a brilliant shot of him looking through a spyhole, keeping his distance from his waiting lover, coolly observing.

Franz has panic attacks in the movie, a good touch I thought, that's what unrequited love does to you. Aesthetically the best of Fassbinder's movies that I've seen. Gods of the Plague touches it out in terms of successful content.

In "Fox and His Friends" (1975) which Rainer Werner Fassbinder wrote and directed, he played a main character, Franz Bieberkopf alias "Fox", a lower class, uneducated circus worker who loses his job when his lover, the circus owner is arrested and sent to prison for tax fraud. Fox believes in his luck and strikes it rich by winning 500,000 marks in the lottery and very soon attracts the attention of an elegant, posh, and sophisticated Eugen who knows very well how to make Fox pay for his expensive habits and how to make him invest a lot of money in his father business that is not very successful to say the least. What fascinated me the most - how convincingly Fassbinder - one man production company who came up with the idea, wrote the screenplay and directed the movie- played seemingly tough but as it turned, confused and vulnerable Fox. Another interesting aspect of the movie is the way Fassbinder describes the gay community in Germany of the early 70s. He does not make any excuses and he does not make his characters complete villains or innocent victims. The story he tells could've happened in any community.

"Faustrecht der Freiheit" occupies a valued place in my video collection. I find myself returning to it again and again, thoroughly enjoying Fassbinder's talent, which run throughout the film. Perceptive, witty and challenging, this drama provides astute observations on societal motivations, political aspirations and, above all, human nature.

A powerful and harrowing melodrama and one of Fassbinder's most accessible movies,this is a must-see for all those interested in intelligent filmmaking.The tragic story of Fox is masterfully and poignantly handled by Fassbinder, while never slipping into sloppy sentimentality.At the same time the film explores sexual and political issues that are still very much relevant.