All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
Fox and His Friends
Franz "Fox" Biberkopf is a working-class guy, at loose ends when his lover is arrested and the police shutter their carnival booth. In need of cash for his weekly lottery purchase, Fox lets himself be picked up by an elegant older man named Max. At Max's, he meets two younger gay men who have expensive tastes and images to uphold. The next day, Fox wins 500,000 marks in the lottery, and Max's friends suddenly become Fox's friends, especially Eugen, the heir to a bookbinding firm that's short of cash. Eugen's polish beguiles Fox, and the fleecing begins.
The tragic trajectory of Fox is evident from the start, though the exact details of his path are worth watching play out. This is a bleak portrait of a man unable to control his life, of the tragedy of being a misfit, of the power of money and love to destroy and blind and confuse. Fassbinder's awkward fool Fox bumbles through his life in a manner Terry Pratchett would call "gormless," and his helplessness is amplified by being a sort of fish-out-of-water socially. It is an indictment of class, a scathing sneer at the divisiveness of financial strata and the shifting mores between them.
At the same time, Fox is shown to be one of the few genuine people in…
The carnivalesque opening brilliantly sets up the deprave world Fassbinder takes us to. A world where the only morality is money and race, class, sex matter little as long as you have it. Fox isn't above following that adage but his inherent vulnerability makes him an easy target. This is more fragmented visually than other Fassbinder films, aligning with the central theme of "every man for himself." A masterpiece!
Fassbinders innovative use of genre draws you into the emotional world of the outsider. Breaking down the conservative pallet for more transgressive and subversive reflections of drama elegant portrayals of the gutter and Fassbinder's proto-punk aesthetic, it is a classic tale of class relations finding its way into new cross sections of an open society. Fox's conflict is a conflict of traditional values. Fox like a figure of the proletariat accepts blindly the values of basic morality as well as an acceptance that we all share these values, that in the end no matter how unflattering and disgusting the actions of the petty bourgeoisie Fox is still only a victim of his own self delusions. The Politics of love and…
A beautiful Fassbinder film featuring a whole crew of sassy gay men and one rough around the edges, speaking head called Fox (played by the director himself).
Fassbinder is the master of framing shots. It's almost distracting how expertly he frames the supporting cast and himself in nearly every scene. For someone who takes a lot more time paying attention to the look of a movie as opposed to the story this movie is a treat. If I had one criticism, it's a pretty standard rags to riches tale. When the protagonist hits the lottery and gets a little bit of money he gets taken advantage of my people he believes are his friends.
I personally can put the short sighted story aspect aside. The mise en scene Fassbinder creates is TOO powerful. Brilliantly filmed and not a terrible job of acting by the director either. Fox the Speaking Head will stick with me for a while.
After stumbling upon the realisation that Fassbinder is not actually as pessimistic as I had him pegged to be and that he is as unashamedly flamboyant as (and self-identified precursor to) Pedro Almodóvar, I was very much looking forward to discarding my ridiculously off the mark prejudices and finally seeing Fox and His Friends, the gayest, most penisy film the director ever created.
Newly freed up from the extended production (by Fassbinder’s standards) of Effi Briest, Fox and His Friends presents another human (though similarly downcast) social drama, in the vein of Ali: Fear Eats the Soul. What makes Fox and His Friends stand out from the rest of Fassbinder’s films I’ve seen to date and from queer cinema at…
In the right hands melodrama can be more effective and damning than any sort of "serious" film could ever dream of being. Unlike, say, a prison story where the protagonist is physically restrained behind iron bars and cement walls, the protagonist in melodrama is restrained by the amorphous ideas of what polite society decides is acceptable. Racism, nationalism, homophobia, etiquette, etc. are all human constructs, and as such they are nearly impossible to overcome. It isn't something that you can chip away at the walls of until you are free because those walls are constantly changing on whims. There is simply no room in "their" world for the weird or different. Anything that is rough will be sanded down until it is smooth like everything else. Resistance is futile.
Love, according to Fassbinder, is always such an icy, non-lucrative business.
He directs himself – rather memorably - as a hustler who wins the lottery and starts a relationship with a snobbish middle-class man, who will chew him and spit him out.
As bizarre and devastating as most of his works, yet surrounded by a strange, deadpan humor, this is certainly one of Fassbinder’s most eloquent, fully-realized films.
As usual, it’s about the materialistic reconstruction of Germany and the relation between power and sentimental relationships, but it’s also a scathing satire about everything that we want in life. Money, class and banality are exposed as those true ingredients of our desires.
This review may contain spoilers. I can handle the truth.
Fassbinder riffs on Pygmalion through this narrative of the titular character Fox struggling to conform to the lifestyle of his newly found bourgeois friends. While the film does not quite rank among my favorite of Fassbinder’s films, there are several noteworthy sequences that display Fassbinder’s adept control of narrative storytelling; one of these scenes in particular occurs when Fox loses his lotto ticket money in a gust of wind
More than just a standalone moment, this early scene encapsulates the entirety of the films narrative arc. The sequence unfolds in a precise economy of shots, beginning with an opening tracking shot that follows Franz to the lotto counter while a group of bourgeois businessmen are glimpsed in the background drinking…
Η μόνη συμβουλή που έχω να δώσω είναι να βεβαιώνεστε ότι υπάρχει αλκοόλ στο σπίτι πριν βάλετε να δείτε Fassbinder.
requires patience, but contains moments of pure inspiration: the vacation; the ending; some thrilling cinematography and mise en scene; and the fable like quality turned into political indictment
One of the most interesting gay films in cinema history/
brute for men
The most potent example of Fassbinder’s muscular, emotionally bared cinema, capable of inspiring gasps of joy in one scene and moans of sorrow in the next. Capped off by one of cinema’s great final scenes, in which the themes and emotional arc of Fox’s story are distilled into one devastating image.
German actor/filmmaker Rainier Werner Fassbinder wrote,produced,and directed this look at an everyday gay man(Fassbinder) who wins the lottery and slowly starts to see just who his real friends are and what life is all about. For a gay orientated film,it has a few full frontal nude scenes but it avoids the sex scenes(both gay and straight) in exchange for both character examination and character development scenes as Fassbinder tries to keep his friendships and relationships on hand and intact no matter how bad things are falling apart,as the film shows how people can fall to temptation and greed and face the tragic results. It was a successful film on the American theatrical arthouse circuit. The dark finale influenced MY OWN…
About as subtle as a head-on collision with a truck.
This list is films with LGBTQI (lesbian, gay, bisexual, transexual, queer and intersex) content that I watched or will watch
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…