Volker schlöndorff baal

so all in all, more experience than movie. Well, I got what I wished for. Oft-repeated theme of "The sky above, the mud below" (recall that classic '60s documentary film) is most memorably depicted later in Scene 10 when Von Trotta (as a stage actress named Sophie who Baal picks up for a tryst) writhes around pregnant in the mud by the roadside as Baal typically physically mistreats her and abandons her.

Scene 2 is also quite striking as Baal makes an ass of himself at the buffet of a fancy party celebrating his celebrity as a poet -he insults Mech (Gunther Neutze), a would-be publisher and benefactor, and is comically boorish to all and sundry.

We later meet a sort-of death's figure in Scene 4 as the musician Eckart (striking persona played by Sigi Graue), who pals around with Baal in an obvious love/hate relationship, and always is playing with a tuning fork.

It is ultimately one long exercise in poetry but it only really hits noticeable peaks when it's matched with particularly dark action. This round it is not Fassbinder behind the production but starring as the main character Baal for his efforts. Gunther Kaufmann, the black actor of innumerable RWF movies, appears as one of the barflies who gets to beat up Baal at one point.

Key subplot has an ill-fated romance of Johannes and 17-year-old Johanna, latter murdered and left in the river by Baal in one of his usual sociopathic escapades.

Though the female characters are mistreated throughout the film, Schlondorff repeatedly zooms in to see their plaintive expressions in closeup (notably Miriam Spoerri as the publisher's wife Emilie and Irmgard Paulis as doomed Johanna), clearly establishing them as sympathetic protagonists rather than mere horror-movie victims.

Film has several false endings (Scenes 22 and 23), played to the hilt for bathos as Baal lies pitifully dying and everyone makes fun of him.

For the most part, Baal is filmed like a drunken haze, the camera unrestful, blurred and foggy. 183).

With the influence of Juliane Lorenz, Fassbinder’s confidant and president of the Rainer Werner Fassbinder Foundation, the digital rework of the film could experience its festival world premiere—right in time for the kick-off of the 64th^.

At 84 minutes, it sometimes feels like it will never end. He has no regrets. Yet, as with an animal, he is very, very aware of nature around him. And yet. One would think “to recognize species in Baal, in the girls and in the cronies that one comes across daily”, so the Süddeutsche Zeitung continues (ibid.)

Less out of diverse moral concepts, but rather out of different opinions about the viewpoints of the social classes portrayed in BAAL, Brecht’s widow Helene Weigel imposes a ban on the screening of the film–that would last for 44 years.

He never violates his own code of ethics. See the movie, but then dive into the extras. Instead it is an in-your-face sort of rock opera.

Opening rock ballad utilizes spoken-word-poetry accompanied by hard rock music - ANIMALS' style organ and wailing harmonica, which later appears in the film occasionally to replace the dialog and background sound.

At the age of 20 he wrote the first version of this play as a reaction to the Drama Der Einsame (The Loner) (1917) by Hanns Johst. The way that Schlöndorff restages
the play in a Germany that's both modern and ancient reminds me a lot of Fassbinder's own The Niklashausen Journey.