Prenez garde à la sainte putain

Fassbinder ends this film with a quote from Thomas Mann that expresses his tiredness in representing the human species, without being part of it. This could well be the key to interpreting not only this film, but almost all of Fassbinder's work.

In a world divided between capitalist tyranny and socialist hypocrisy, there is no real place for Fassbinder and his troupe, representative of a generation that wants to be above bourgeois values, but finds no alternatives, falling into nihilism and depression.

In retrospect, we can believe that Fassbinder's discomfort stemmed, in large part, from the rejection of homosexuality, whether by fascist moralism or socialist progressivism. The sexual freedom of the sixties did not yet include homosexuality, and Fassbinder, using shock therapy in his films, was one of the staunchest critics of this hypocritical sexual revolution.

The film tells the story of a film production, which takes place in a haphazard manner, in a Sorrento painted in Francoist Spain, as a metaphor for a society and a revolution of mentalities, which is also slow to happen.

Meanwhile, Cuba Libres are drunk, in honor of the revolution.

Nearly all of the reviews I have read about this film mention its "dullness" or "boredom". Someone compared him with Truffaut earlier, I think it is important to remember that although Fassbinder was certainly influenced by French New Wave, he was essentially a German film-maker with a completely unique approach to his work. So, if u find his films boring because you are expecting to watch another Jules et Jim, then I think u set yourself up for disappointment. I think the slow pace of the film re-creates an environment (namely the filming of the previous Fassbinder film, whitey) and achieves its purpose masterfully, combining all the sexual, emotional,and mental frustration of making a film.

Fassbinder wasn't known for comic hijinx (if you've sat through SATAN'S BREW, you'd remember it), but probably the most sheerly pleasurable of all his movies is this rather premature but quite welcome self-parody.

The maestro's Bavarian-slob ripoff of Warhol's Factory is keenly lampooned in this oh-so-languid art-movie take on TWO WEEKS IN ANOTHER TOWN. Fassbinder plays a grubby and wildly sadistic producer holed up in a half-swanky, half-tatty seaside hotel with half a movie in the can and no finishing funds. That's the Beckettian setup for a lobby full of achingly sexy and heroin-esque Fassbinder heroines, pretty boys getting their feelings hurt, drinks swallowed and thrown, and a lot of people getting yelled at in public. If that sounds like par for a familiar course, the difference is that here it's all played for yuks--but with such an exquisite deadpan you can practically hear R.W.F. smothering his guffaws behind the camera.

On a film set there are two things missing, the film material and the director. So the actors and actresses as well as the crew try to make the best out of the situation. When the director arrives the material is still missing and so they still wait and try to make the best out of the situation. When the material finally arrives all folks involved into the film find themselves in a weird situation.

I love that Ulli Lommel appears as Korbinian, the manager. At this point, Lommel might have been a respected actor, but now (2016) he is better known for directing pure rubbish. He clearly did not pick up skills from Fassbinder.

The idea of the "meta" film is always fun, and I like the idea that the film is or isn't working because of shortcomings. But this really isn't my favorite Fassbinder. I like when he goes for that "Sirk touch", and that is noticeably absent here.

I saw the restored print today at the film forum it was stunning and lush and beautifully photographed. If you can't understand that Fassbinder's early films came out of his experiences in the theater in Germany, and the plays he wrote very often featured a group of people standing around talking, then you'll never understand this film or Fassbinder. This film is about Fassbinder, and like all his films it crosses genres widely mixing the obvious Warhol influence with films about films like Contempt, Day For Night, 81/2. It does feature a large cast of people and like the Chelsea Girls sitting around talking about nothing for four hours, Beware Of a Holy Whore features a large group of people doing whatever they want and catches them in various states of anger, sadness, drunkenness, etc. The dialogue is often amusing, but the monotony of the experience is what's important - again the link to Warhol. Moreover the director character in the film seems to me to be exactly a representation of Fassbinder and by the final half hour you really come to feel his frustration at everyone and life itself. This was Fassbinder when he directed, screaming , shouting at everyone. His reputation was widespread. In this film Fassbinder realizes his ridiculousness and decides to do it up - and that's where the self-parody comes in. If you want to see this movie for a comedy experience, next. The film is impressive, interesting, beautifully shot - one exceptional moment was the sunset shot where Jeff gets punched in the stomach. And the editing of the film half really worked well, cutting between scenes the way they did. Quite Effective. Really.