screen adaptation of the novel Döblin very mystical, "Berlin Alexanderplatz" is presented in thirteen parts and an epilogue. Foil with an intimate theater, the epic focuses on a kind of "trinity" Earth: the name of desire, honesty and forgiveness. For more than 15 hours, the Great and early Fassbinder depicts a world where endangered human acts and reacts like a beast. Soon, we leave the identity, specificity and soul of Berlin of the 20s with a body to be common and timeless, just in crisis.
By following closely the tragic path Biberkopf Franz, a former inmate who has vows of honesty, the viewer observes the misery of a world in decline, in which no viable solution was honest and place of be. These signs are manifested by an apocalyptic light blinks, hesitates to go out and continuously attacks the goodness of the characters we would like to see succeed or less normal life.
There is also a haunting music that loops back, reflecting the cultural weakness of redundant this world but not without beauty. Through his camera movements, Fassbinder observed the chaos from all angles. It plunges into the bruised body of our hero martyr, then sees how the other martyrs, those whose identity is unknown but we know the story, include an outside perspective. Similarly, all layers of society, apart from the citizens who do not seem to exist only in the speeches of the revolutionists, are scrutinized. It collides with the shell unhealthy thug Reinhold, one drowns in the ocean of remorse overwhelms Meck's best friend, Franz, or slip on the angelic face of Mieze, his fiancee. Many of the messages we are being offered through this game camera on the plastic characters.
Finally, the image seems made of paint, no line is perfectly clear, as if it had crushed all this information to bring out the essentials. At these colors that enhance the feelings of the characters, for good or ill, the director uses gradients that reveal a world in balance capable of the best and the worst, stand up like falling into a bottomless abyss. This feature allows Fassbinder not to judge people but rather the man that leads us to observe good and evil without no party took and go further in thinking where subjectivity is seen as a brake.
Fassbinder films also desire, loyalty and the role of women. The latter appears in all its facets. Battered, flirtatious, calculator, trustful, loving, many profiles presented in a dignified and still aesthetic. All aspects of plastic women in this fiction are like the precious, that which will be played by Lili Marlene in her next film. The female body is one thing, her soul is another. Franz agrees that its women in prostitution, to make maintenance as long as the feelings not not leave the marital home.
Similarly, during the 15 hours, we saw no game of seduction, the affinities seem to settle on a spiritual, at first sight, with the exception of women as objects, prized only for their flesh.
Then there's the epilogue, the time of the Last Judgement for Franz and his peers. This final episode, unlike its predecessors, is not announced by a generic. We find ourselves directly in the psychic purgatory Franz. From the first scenes, we say that Lynch did not invent anything, both the size and surreal scenery burst from the screen. We are witnessing the separation between soul and body Franz, assimilated to Job from the Old Testament. Although his body seemed restored, rest her soul sick, the suffering it has inflicted and endured are still present. It carries all the suffering in the world in him and the crucifixion as penance seems to be the only viable way to make his soul in the afterlife. Magnificent.
By following closely the tragic path Biberkopf Franz, a former inmate who has vows of honesty, the viewer observes the misery of a world in decline, in which no viable solution was honest and place of be. These signs are manifested by an apocalyptic light blinks, hesitates to go out and continuously attacks the goodness of the characters we would like to see succeed or less normal life.
There is also a haunting music that loops back, reflecting the cultural weakness of redundant this world but not without beauty. Through his camera movements, Fassbinder observed the chaos from all angles. It plunges into the bruised body of our hero martyr, then sees how the other martyrs, those whose identity is unknown but we know the story, include an outside perspective. Similarly, all layers of society, apart from the citizens who do not seem to exist only in the speeches of the revolutionists, are scrutinized. It collides with the shell unhealthy thug Reinhold, one drowns in the ocean of remorse overwhelms Meck's best friend, Franz, or slip on the angelic face of Mieze, his fiancee. Many of the messages we are being offered through this game camera on the plastic characters.
Finally, the image seems made of paint, no line is perfectly clear, as if it had crushed all this information to bring out the essentials. At these colors that enhance the feelings of the characters, for good or ill, the director uses gradients that reveal a world in balance capable of the best and the worst, stand up like falling into a bottomless abyss. This feature allows Fassbinder not to judge people but rather the man that leads us to observe good and evil without no party took and go further in thinking where subjectivity is seen as a brake.
Fassbinder films also desire, loyalty and the role of women. The latter appears in all its facets. Battered, flirtatious, calculator, trustful, loving, many profiles presented in a dignified and still aesthetic. All aspects of plastic women in this fiction are like the precious, that which will be played by Lili Marlene in her next film. The female body is one thing, her soul is another. Franz agrees that its women in prostitution, to make maintenance as long as the feelings not not leave the marital home.
Similarly, during the 15 hours, we saw no game of seduction, the affinities seem to settle on a spiritual, at first sight, with the exception of women as objects, prized only for their flesh.
Then there's the epilogue, the time of the Last Judgement for Franz and his peers. This final episode, unlike its predecessors, is not announced by a generic. We find ourselves directly in the psychic purgatory Franz. From the first scenes, we say that Lynch did not invent anything, both the size and surreal scenery burst from the screen. We are witnessing the separation between soul and body Franz, assimilated to Job from the Old Testament. Although his body seemed restored, rest her soul sick, the suffering it has inflicted and endured are still present. It carries all the suffering in the world in him and the crucifixion as penance seems to be the only viable way to make his soul in the afterlife. Magnificent.
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