Le marchand des quatre saisons

If I squint, I can see the influence of Douglas Sirk on this Rainer Werner Fassbinder soaper about fruitseller Hans Hirschmüller. He's cast as a failure, because he doesn't live up to the middle-class aspirations of his family. He runs away and joins the Foreign Legion. He returns and joins the police, but is kicked out for consorting with a prostitute. His one true love can't marry him because of his work, although she meets him for assignations. In between, he has a shrewish wife in Irm Hermann, in-laws who despise him, a heart attack, and his gradual erasure from his own life to contend with.

However, while Sirk's most famous work in the 1950s tinges his disapproval of the post-war middle class with sympathy and wonderment at peoples' refusal to admit what they want to to be happy, Fassbinder seems angry and contemptuous of his subjects. Hirschmüller is too passive, Miss Miss Hermann plays the victim card too aggressively, his family arrant, mealy-mouthed snobs, and so forth. There's no one to root for in this. There's nothing tragic about his inevitable destruction, only a sadistic, scolding examination of all that Fassbinder finds wrong with mainstream society.

THE MERCHANT OF FOUR SEASONS was Rainer Werner Fassbinder's first shot at mainstream acceptance. In a turbulent career of just fifteen years, he managed to create an astounding body of work in film and theater, both as a performer and a creative producer, actor, and director. Although this movie might not appeal to many viewers, the film has much to offer. The storyline is fairly straightforward. A man is ostracized from his upper middle class family due to emotional and economic problems, and proves unable to control his downward spiral. THE MERCHANT OF FOUR SEASONS is shot with a slavish devotion to elegant detail, and each set is very carefully designed and constructed. Every object on set seems painstakingly arranged so as to provoke layers of emotional texture. Many religious paintings and icons decorate the walls of the various rooms and seem to speak to Hans's desperate quest for spiritual meaning or direction in his life. Much thought was given to how lighting and color were employed to contrast and enhance the drama. Several times during the film, I froze the frame to marvel at the beauty of the shot's composition. I streamed this film, and the print was nearly flawless and second to none. Fassbinder employs his actors in an almost vehement "Anti-Natural' style. He does everything possible to prevent the actors from reacting in a normal or colloquial manner, and this creates a rather stilted effect. However, by doing so, he injects an almost 'hyper-reality' to the narrative. Rather than the presentation of a mundane melodrama, the actors almost militant lack of affectation forces the viewer to confront the film in a different manner. Fassbinder's film intentionally prevents the viewer from easily connecting with the characters' trials and tribulations. You are constantly on the outside, looking in. This will be a disconcerting experience for many, but I found it to be a unique and satisfying artistic adventure.

I rented the movie at the local library, since I had years earlier seen Angst Essen Die Seele Auf, and liked it. It started very interesting with Hans Epp returning from a spell with the Foreign Legion, but the first thing his mother told him was how he was a failure and always would be. "Was ist traurig VorMittag ist noch traurig NachMittag" But I found the actors in this movie to be like zombies. It might be that they just depicted a dreary every day life, but I felt midways into the film that I don`t need to have these pictures inside my head, so I pressed the stop button and in stead put on the other film I had rented at the library, an episode of Star Trek Voyager.

Not that this is a bad movie, it was just tragic to watch at the time.

What kind I say about this movie. well for starters, I thought that this film was okay, not the greatest not worst. I said this cause I thought that the script was great and original, really different and refreshing. Now I wouldn't say that it's the greatest film that I've seeing cause of the acting. The actors that played each role, seems that they played them without emotions, as if they took the life out of them. When the wife laughed or cried, this didn't look real to me for some reason, that's just an example, but sincerely all the characters didn't act real at all. I wish I could say more positive things about this film so you guys can see it at least once but how can I do that since I know that I'm not going to see this movie again. I rented this film from the library of my school, without hearing anything about the film itself or the director. I took a chance because the story that was describe on the back sounded really interesting and it really was.

I didn't find this film as accessible as 'Fox & his Friends' but it was a moving portrayal of a typical Fassbinder victim figure, the eponymous barrow-boy, Hans Epp, whose hopes and dreams are eventually crushed by stultifying conformity (family & society). Some of the scenes are exaggerated (the family confrontations) but I particularly liked the sequence where Hans is desperately searching for meaning & comfort; he tries to find some peace in natural surroundings, goes back to his first lost love in order to recapture past feelings (she's only interested in a quick fling before her husband returns) and visits his sister, perhaps the only person who has any degree of sympathy for him, only to find she's too busy with work.

A poignant story of a vulnerable inarticulate man crushed by his mundane surroundings and bourgeoise, middle-class German values obsessed with economic success and a upward mobility that conveniently papers over the cracks of its more disturbing past.