pink and purple love⋆.∗̥✩⁺will continue to add
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…
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…
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.
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.
It is telling that Rainer Werner Fassbinder, always an intensely personal filmmaker, decided to play the title role in this, one of his most devastating melodramas. A common Fassbinder theme involving the power dynamics of love is achingly told in this tale of a simple, blue-collar hustler who, after winning the lottery, is systematically exploited by his new, bourgeois-sophisticate lover whose business is failing financially.
Underrated Fassbinder. I'm really glad I saw this at a formative-ish time in my life. Without a doubt, RWF is one of my favorite directors.
Never before have I envied a gay man's style, until Fox.
Post war Germany is one of the most interesting cultures to explore in music and film. Fassbinder's unabashed portrait of homosexuality is a breath of fresh air because it is not about homosexuality. Most films I've seen, the central conflict is homosexuality. This film proceeds with its own conflict without it being about the sexuality.
Years ahead of its time, just like Can. Fuck midnight cowboy.
Reviewed as part of a double pack with Chinese Roulette on The Geek Show.
My first Fassbinder, and I can't say I'm besotted with this rather obvious tale of class exploitation. On the positive side, Hedvig's concept of a god who dresses like Marlene Dietrich is the kind of religion I could subscribe to.
Do you think Steve Doocy, Ainsley Earhardt, and Brian Kilmeade know about this movie?
"How much I pay? He wants to know how much I pay. I pay for everything. I always pay for everything. I have to pay, for everything, always!
Insanely powerful and resonate, the last shot of the film left me with chills and the immediate knowledge that it was one of my favorite movies I've seen in a long time.
Watching someone sacrifice their values and friends for love, and that person they love forcing them to transform and change and shed the things that make them who they are, is painful.
A clear and obvious story about the price of money and the kind of personality that class status builds around a person. Sad, honest, my first Fassbinder film and definitely not my last because holy shit.
As a side note: fuck bourgeois culture, I cringed at so many parts in this film, embarrassment is such an ugly and selfish emotion.
Fassbinder's work just continues to impress. This film is equally on par with Ali: Fear Eats the Soul, and even exceeds it in some ways. Fox is an excellent example of how Fassbinder will pass over the major events in a character's life in favor the on everyday, the mundane, the ennui of their lives. He finds that far more telling of a person's character, nearly inverting the conventional method of storytelling. Why Fassbinder is not constantly brought up as one of the very greatest directors, I will never know. Producing a lifetime of work in only 13 years is reason enough to place him in the pantheon of directors.
Odd that despite Fassbinder being perhaps the worst performer of the bunch, his titular Fox ends up being one of the only redeemable characters. Most of the people here are frankly pretty detestable, not that that in and of itself warrants a detraction against the film. However, I do think the film is both a bit too long and a bit too sour for its own good after a while; it almost seems as though Fassbinder has simply placed himself in the most piteous role possible and then forced the audience to watch him fall. The tragedy doesn't really feel merited based on what preceded it.
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.
All the films from all the editions, including those subsequently removed, presently totalling 1187. An easy way of seeing how…
UPDATED: October 21, 2016
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