Il soldato americano

American SOLDIER is certainly not among Fassbinder's greatest works. Fassbinder's oeuvre demands that his actors 'pose' rather than 'act'. Ordinarily, a successful dramatic performance allows the viewer to forget that an actor is 'pretending', but that one is witnessing a real depiction of emotions and reactions. However, Fassbinder strives for the converse of this process. He seems to aim for an almost militant lack of affectation, and his actors strike stylized poses which only represent authentic emotions. It's almost like German Kabuki Theater. It would seem that this form of acting technique would lend itself very well to the genre of Gangster Noir, but this film definitely missed the mark. The tale of three rogue police detectives who employ the skills of a heartless American Vietnam veteran is bogged down in an untidy avalanche of wacky details. Odd monologues, pointless car trips, enigmatic phone calls, and arguably the weirdest final scene ever brought to film, do not advance the storyline, but only confuse and perplex the viewer. Fassbinder's more successful films created surreal hyper-realities, but American SOLDIER only conveyed a feeling of disconnected opaqueness. Only for Die Hard Fassbinder Fans.

This is an early Fassbinder film, and from what I've seen, one of the best of his first 11 (which make up his first stage as a filmmaker). It's Fassbinder in gangster mode, and has been called an homage to film noir or even a parody of film noir. This isn't the case though. The movie is just film noir done by Fassbinder. There are little homages here and there, the beginning and end could be seen as being inspired by Breathless (taken to ridiculous extremes), and there are lots of filmmakers names used as characters, but Fassbinder isn't winking at the camera so much as just being himself, which back then, could be quite bizarre. In fact, this might be one of Fassbinder's most bizarre movies.

The camera stands still, characters occasionally deliver seemingly unrelated monologues, unusual plot lines are treated nonchalantly (Ricky's brother is in love with him?), people about to be killed don't seem to be worried, and the singlehandedly greatest song ever plays over and over again, crooning "so much tenderness is in my head, so much loneliness in my bed." To have this song play over scenes of a stone-cold amoral hitman (the title character) casually driving his car are perversely hilarious. Even better is when it plays in the end, in one of the greatest endings I've ever seen (you'll have to check it out).

The recent release of this film on DVD should help bring it some attention, as its now available for a pretty reasonable price from Wellspring. If you're looking for one of Fassbinder's more mature, professional, socially poignant melodramas, maybe this isn't the movie for you. If you're interested in an extremely unique unclassifiable early Fassbinder, by all means, check this out. Despite the occasional nods to past filmmakers, it's surprising how unique Fassbinder was from the start.

(for those who are Jim Jarmusch fans, it's apparent films like these must have inspired the detached humor in some of his more recent films).

Incredibly incredible. Static (except for the long scenes shot in the convertible car, when we see the shadow of the camera). Unconvincing. Amateurish. Fake actors. Uninteresting story. Unprofessional image. As directed by a debutant (although it is Fassbinder's 6th feature) who is experimenting and does not really know what he wants.

"Der Amerikanische Soldat" (1970) is R.W. Fassbinder's least understood movie. Most people think - and this conviction can be found also in textbooks about Fassbinders as well as in reference works of film - that he just wanted to create a German Film Noir as a kind of reverence for his love for the respective American movies of the 50ies. Nothing can be less adequate! The American Soldier, asked by a prostitute, if he is a real Yank, answers: "First, there was Germany ... . Once there was a little boy ... He flew over the Pond ... . Scheisse!". I think the main problem with the story is that Fassbinder purposely does not portray The American Soldier as an American who has been called by the German police to abolish a bunch of criminals. Richard Murphy alias Richard Von Rezzori is a German. When Franz Walsch alias Fassbinder asks him during their car trip: "And how was it in Vietnam?" - Richard's astonishing answer is: "Loud". In this little dialog, there is all you need to understand this outstanding movie. Another crucial scene is when Richard visits his paternal house. As one sees, not only he, but also his mother and his brother are drinkers. When he rings the bell, he tries to kiss his mother, but she disgustedly turns away her head. His brother smashes a wine-glass in his hand until he bleeds. After Richard has left, he starts to cry and says: "Mama, I still love him!". So, who is the American Soldier? A German noble-man who became an American citizen in order to be legitimated to clean-up what had destroyed his soul in Germany? Vietnam as a legitimation to get rid of the burdens of his soul? But about such things one does not speak, and so it was just "loud" down there. But is there not an additional point of criticism in Fassbinder's movie? Fact is: It is the German police (represented by three moronic officers and an antique president) who hire the American Soldier in order to kill all those against which the police has too little evidence in order to arrest them. But in the end, the killer also gets killed, because otherwise the incapability of the police would become public! Can one not see in this other aspect of the story also the function of the real Americans who "liberated" Germany after World War II. and, at the same time, have been accused of intrusion and interference for what they have done? So, Fassbinders's movie is far from being mono-linear. What he copied is a little bit the Ambiente of some early gangster movies, but even the structural main feature, the play with light and shadow and the dark screens which have been so typical for Films Noirs, are completely lacking in "The American Soldier". One has rather the impression, that three clowns of police-men just have watched a bit too many gangster movies, that is all. With that, it goes together that the most unimportant persons in the movie carry the names of famous real persons, a stylistic effect that Fassbinder loved: So, the porter of the shabby hotel is "Murnau", the little girl-friend of one of the police-rowdies is "Rosa Von Praunheim". The porn-sales-girl is Magdalena "Fuller". Last but not least: Richard Von Rezzori bears the name of the German writer Gregor Von Rezzori whose wife Hanna Axmann-Rezzori was one of Fassbinder's early Maecenas and acted in "Warum Läuft Herr R. Amok" and "Rio Das Mortes". The score of this movie, by Fassbinder and Peer Raben, probably belongs to the best film music of all times.

The European pseudo-noirs of the 60s and 70s reaped the benefits of being able to skip a number of steps in the writing process simply by adopting styles and themes from previous films. What was left was to add one's own spin to an existing story. Fassbinder was a genius at taking a style and making it his own, not in a superficially Tarantino-ish way, but in a way that was at once equally unique and dependent, retaining the benefits of a style and pushing it even further into his own territory.

In this sense, this film is an early experiment: a war veteran turned contract killer stoically carrying out his duties, but in a post-war German environment and with homoerotic undertones galore. But it's remarkably coherent and compelling considering how little the plot gives away explicitly. Indeed, this would become one of his trademarks.

4 out of 5 - An excellent film