In an interview in 1971 fassbinder asserted what has come to represent his most convincing justification for his innovative attachment to story: the american cinema is the only one i can take really seriously, because it's the only one that has really reached an audience. Douglas sirk (born hans detlef sierck 26 april 1897 – 14 january 1987) was a german film director best known for his work in hollywood melodramas of the 1950s. Sirk was able to make movies during the forties and fifties that fassbinder described as “subversive political statements” that were “effective instruments against social oppression” within the hollywood studio system because of the freedom that the genre archetype afforded him. Rainer werner fassbinder’s ali: fear eats the soul is arguably one of the director’s best films it may be the rough-around-the-edges style and its low budget charm that makes it a timely classic, as the director shot the movie in a short two weeks whilst in pre-production for his next. The wildly prolific german filmmaker rainer werner fassbinder paid homage to his cinematic hero douglas sirk with this update of that filmmaker’s 1955 all that heaven allows a lonely widow (brigitte mira) meets a much younger arab worker (el hedi ben salem) in a bar during a rainstorm.
Any discussion of brecht must necessarily take into account fassbinder's relationship to douglas sirk and his 1950s hollywood melodramas, which are, like the paranoid woman's film or the female gothic of the 1940s, constitutive of mid-century american women's culture. Rainer werner fassbinder six films by douglas sirk ‘film is like a battleground’ sam fuller, who once wrote a script  shockproof (1948) sirk recounts ‘ i recall that fuller—whom i never met—brought a script to columbia, which i was supposed to shoot i liked the script tremendously. Like rainer werner fassbinder's other recent imitations of life, fear eats the soul [angst essen seele auf] achieves a remarkable balance between stylisation and realism the movie is an. Inspired by douglas sirk and bertolt brecht, rainer werner fassbinder created his own style to develop his cinematic social critiques and analyses with the support of chaudhuri’s analysis (pages 644 to 648) explain what are the most significant film strategies and methods inspired by sirk and brecht, respectively, and implemented by.
Fassbinder updates douglas sirk’s all that heaven allows for mid-1970s german audiences (1) he keeps the basic plot: an older woman falls in love with a younger man, who also happens to be a few rungs below her on the ladder of social hierarchy. Douglas sirk’s “all that heaven allows” (1955) provided the inspiration for the story of a blossoming relationship between an older woman and a younger man for fassbinder, disparate nationalities contribute to a social chasm that challenges the relationship. The bitter tears of petra von kant — classic film pick brecht meets douglas sirk and joseph mankiewicz (“all about eve”) in rainer werner fassbinder’s delectable adaptation of his five-act stageplay, an exploration of a lesbian triangle of role-switching polarities between dominance and submission.
Directed by douglas sirk, hans schönherr, tilman taube with michael breining, annemarie düringer, rainer werner fassbinder, doris schade about an alcoholic, cockroach-fearing tenant who has failed to pay her rent and the argument that ensues between her, her landlady, and another resident of the building. A 35mm print of fear eats the soul will screen at 2 pm on sunday, september 16 in the chazen museum of art as part of our fassbinder series and also as the middle film in an unofficial trilogy beginning with douglas sirk's all that heaven allows (screening september 15) and concluding with todd haynes's far from heaven (screening september 21. While many of fassbinder’s best films from 1971 through the premature end of his career in 1982 show the obvious influence of sirk, it can perhaps be most strongly felt in 1974’s ali: fear eats the soul, the one time fassbinder actively remade the plot of one of his master’s movies.
Picture the criterion collection presents douglas sirk’s all that heaven allows on dvd in the aspect ratio of about 177:1 on a dual-layer disc the transfer has been enhanced for widescreen televisions the transfer, taken from a 35mm interpositive, looks decent but has a few issues that do mar it somewhat. Proof of this comes in his lengthy essay included on the criterion collection's new dvd of sirk's all that heaven allows (1955) reading through it, we know that fassbinder worshipped, admired, and lived douglas sirk. Reading this essay only re-enforced the assertion that ali: fear eats the soul (fassbinder, 1973) and: all that heaven allows (sirk, 1955) offer and object lesson in how a movie genre can successfully mutate from one country and era to another. Fassbinder never lost his taste for pure escapist movies or respect for their power over audiences: he was the one who saw douglas sirk’s movies for the lacerating critiques of american society they really were, praising them in a 1971 essay back when they were regarded as just swoony melodramas. 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.
“fassbinder’s probing camera shows us what the doctors fail to see ” madness has long been a staple ingredient of hollywood melodrama, including the films of douglas sirk, so beloved by fassbinder faced with a stifling, oppressive society or an untenable personal situation, sirk’s. Abstract in the late 1950s, danish-born, german-trained douglas sirk directed a series of lush, technicolor melodramas for universal studios, which, while successful, were generally panned or ignored by serious film critics. In his essay fassbinder noted: “after douglas sirk's film, love seems to me even more to be the best, most sneaky and effective instrument of social oppression” how a person with his needs and longings is conditioned to be a useful member of society is the subject of his films time and again. B detlef sierck b april 26, 1900, hamburg, germany d january 14, 1987, lugano, switzerland filmography bibliography web resources your characters have to remain innocent of what your picture is after – douglas sirk (1) douglas sirk was one of the 20th century cinema’s great ironists and perhaps the most distinctive characteristic of the films [.
Fassbinder greatly admired michael curtiz, whom he called “cruelly overlooked” in an essay on the director he loved casablanca (1942) and mildred pierce (1945), but placed the comparatively rare flamingo road above those familiar classics, in his top four films of all time. Fassbinder’s prolific oeuvre includes examples of virtually every genre, and while he drew inspiration from the melodramas of douglas sirk and the french nouvelle vague, fassbinder’s own movies have influenced a whole generation of filmmakers including todd haynes, quentin tarantino and todd solondz. Fassbinder acknowledges hollywood director douglas sirk as his strongest influence he shares sirk's fondness for the melodramatic, using exaggerated camera angles and mirror techniques.