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Ali: Fear Eats the Soul
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Rainer Werner Fassbinder not only directed Ali: Fear Eats the Soul (Angst essen Seele auf), but also scripted the film, designed the sets, and produced. Brigitte Mira heads the cast as a lonely German cleaning woman, who enters into an affair with equally lonely--and much, much younger--Moroccan mechanic El Hedi Ben Salem. They marry, despite the shocked, bigoted reactions of those around them. This thinly disguised remake of Douglas Sirk's All That Heaven Allows (cult favorite Sirk was one of Fassbinder's personal heroes) won the international critic's prize at the Cannes Film Festival. ~ Hal Erickson, All Movie Guide
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KarinaKarina My Year of Fassbinder: Heaven & ...
by Karina in Karina on SpoutBlog
liked it.
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"By all accounts, Douglas Sirk’s 1950s melodramas rocked Rainer Werner Fassbinder’s world when he first saw them in the early 70s. In “Imitation of Life: On The Films of Douglas Sirk,” a 1971 essay on Sirk included in the Criterion edition of Sirk’s All That Heaven Allows, Fassbinder presages his own late-career turn towards films centered around female protagonists by marveling at Sirk’s unique way with women. “In Douglas Sirk movies the women think,” Fassbinder writes, as if this plain realization has knocked the wind out of him. “I haven’t noticed that with any other director. With any.” He also marvels at the Hollywood director’s ability to subvert dominant society via low art, sneaking radical critique into “films that people in Germany with his level of education would have smirked at.” What Fassbinder must have seen that those academic stiffs would have missed, was that Sirk needed the smirk in order to mask what he was “really” up to. When Fassbinder reworked Heaven’s basic ... " [More]
SpoutBlogSpoutBlog My Year of Fassbinder: Heaven & ...
by SpoutBlog in SpoutBlog on spout.com
hasn't rated it.
Was this review helpful? [Be the first to tell us!]
"By all accounts, Douglas Sirk’s 1950s melodramas rocked Rainer Werner Fassbinder’s world when he first saw them in the early 70s. In “Imitation of Life: On The Films of Douglas Sirk,” a 1971 essay on Sirk included in the Criterion edition of Sirk’s All That Heaven Allows, Fassbinder presages his own late-career turn towards films centered around female protagonists by marveling at Sirk’s unique way with women. “In Douglas Sirk movies the women think,” Fassbinder writes, as if this plain realization has knocked the wind out of him. “I haven’t noticed that with any other director. With any.” He also marvels at the Hollywood director’s ability to subvert dominant society via low art, sneaking radical critique into “films that people in Germany with his level of education would have smirked at.” What Fassbinder must have seen that those academic stiffs would have missed, was that Sirk needed the smirk in order to mask what he was “really” up to. When Fassbinder reworked Heaven’s basic ... " [More]
paulpaul FilmCouch #20
by paul in paul on spout.com
loved it.
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"Interview with Christopher Smith director of Severance, a fall-down-funny-then-cover-you r-eyes slasher flick opening in theaters tonight. The FilmCouch group reloads discussion on what makes a villain from FilmCouch 18, and somehow draws a connection between American Beauty and Star Wars. A 33 year old German film is more relevant today than ever–Ali: Fear Eats the Soul (1974), by New German Cinema pioneer Rainer Werner Fassbinder. Download FilmCouch #20 or subscribe in the iTunes store (search for “filmcouch” or click here to launch iTunes) and a new free episode will download every Friday. Films under discussion: Severance Star Wars American Beauty Ali: Fear Eats the Soul Originally posted on:SpoutBlog » Paul " [More]
RisseladaRisselada Movie year countdown viewing pr ...
by Risselada in Risselada Blog
hasn't rated it.
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"This is a list for Round 2 of my movie year countdown viewing project as first described here. If by any strange chance whoever is reading this is actually following along you may notice that I'm still less than two thirds of the way through my original one. Well I'm starting this new one because as much as I love old movies it can get a little tedious watching just older movies. So I'm going to be blending my watching of the two lists together. Still focusing on the original one, but every once in a while sliding in the next entry from this new list.Again these new movies are limited to full length movies that are available on Netflix. And for this new round instead of picking a movie from every year, I will be picking a movie from every two years. For example the first movie must have come out during 2006 or 2007. The second movie must have come out in 2004 or 2005. The next in 2002 or 2003. You see.The list is not finished yet, but here is what I have decide ... " [More]
paulpaul FilmCouch #20
by paul in FilmCouch
loved it.
"Interview with Christopher Smith director of Severance, a fall-down-funny-then-cover-you r-eyes slasher flick opening in theaters tonight. The FilmCouch group reloads discussion on what makes a villain from FilmCouch 18, and somehow draws a connection between American Beauty and Star Wars. A 33 year old German film is more relevant today than ever--Ali: Fear Eats the Soul (1974), by New German Cinema pioneer Rainer Werner Fassbinder. Download FilmCouch #20 or subscribe in the iTunes store (search for "filmcouch" or click here to launch iTunes) and a new free episode will download every Friday. " [More]
quintquint Socio-political love
by quint in An inordinate number of peppers
liked it.
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"So, i watched this last night, past my bedtime, at Paul's instigation. I have a healthy respect for Fassbinder. I haven't seen nearly all his great films, but where I've dabbled I've generally found pleasure. He made a lot of movies and he made them very fast and it shows sometimes, but his eye is incredible. Working this way allowed him to feed off a moment's inspiration. I liked Lola very much and Fear of Fear is the sort of psychological drama that I enjoy. Think Polanski's Repulsion. Fassbinder's world is post-war Germany. He was of the generation that gave us Herzog and Wim Wenders as well as Klaus Kinski, those that grew up in a ravaged world amidst a society in disarray. There is darkness in all their work and no small measure of hope as well. How does a country pull itself back together? Clearly, not without a good deal of social problems. There is almost always a naked man of African descent in Fassbinder's films and this one follows suit. S ... " [More]
 



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