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The men’s increasing hostility towards the “Katzelmacher” (a Bavarian sexual slur for a foreign laborer), coupled with the immigrant’s incomprehension, leads to the film’s powerful climax.Īt the time of its release, it won several prestigious awards and the prize money, which was many times more than the film’s budget, financed Fassbinder’s next films. But violence lies just below the surface, as we see when a Greek “guest worker” moves in and begins seeing one of the women. They hang around their dull Munich apartment complex, smoking cigarettes, sipping beer, exchanging banalities, and sleeping with each other – sometimes for money. Shot in just nine days on a shoestring budget (DEM 80,000, then US $25,000), Katzelmacher explores the rootless but circumscribed lives of a group of young working class people. (The theatrical script is included in the anthology Fassbinder’s Plays.)
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Fassbinder adapted his own original play, of the same title, which he had also starred in on stage. One of only a handful of Fassbinder films which I had not seen before, it seems among his best, and most challenging, works.įassbinder’s second feature film, Katzelmacher (1969) is a tour de force of stark visual beauty and ambiguous but riveting characters. Though the film is no masterpiece, it contains many elements of Shepitko’s distinctive visual style: unusual low-angle shots of human subjects, black and white film, a shaky handheld camera on follow shots, provocative and thoughtful framing.Įlem Klimov, also a student at VGIK and later a highly respected director in his own right, helped her with the production of Heat they married in 1963 after production finished. The heat on set was genuinely severe: Shepitko fainted from heat exhaustion several times, and eventually became so ill that she had to direct from a stretcher carried around set. Nature and landscape dominate the movie: the searing temperatures that scald the land drive the tension of human relationships to the boiling point and dictate farming methods more intensely than any party decree. They clash over the implementation of new agricultural techniques while Abakir attempts to cull the favor of the state party authorities, the younger man truly believes in the development of the region, though many of his progressive methods clearly don’t work. The plot centers on Abakir, a paragon of socialist virtue, and the conflicts he encounters with a younger, freer generation when a young student comes to work on his farm. The film was controversial for its frank portrayal of generational conflicts and won a few domestic prizes. Heat was produced by Kirghizfilm Studios and based on a story by Chinghiz Aitmatov, a Soviet-Kyrgyz author. The wisecracks (thanks to Irving Wallace) make the otherwise dumb and predictable film worth your time.Shepitko was sent to Kyrgyzstan to produce her VGIK graduate thesis film, possibly in order to stimulate the development of a film industry in that territory. Robinson re-enacting roles similar to what they have enjoyed playing so often. The film is good to pass the time, watching Paul Newman and Edward G.
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Was it a homage to Hitchcock or was Lehman suffering a bout of creativity loss? Or was Director Mark Robson a die hard Hitchcock fan? The book, pulp fiction at its best, made good casual reading.
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If you have seen the Hitchcock film you know what follows. A few minutes later into the film Lehman replaces the auction sequence in the Cary Grant film with Newman in a nudist conference. The famous scene of Cary Grant being almost killed by a plane in the open field is replayed here with Paul Newman being terrorized by a car on an empty bridge at night. Ernest Lehman was the script writer for Hitchcock's "North by northwest." I was surprised that two scenes from the classic were modified by Lehman for "The Prize". If you have read the book, what the film has to offer is unfortunately a replay of what Hitchcock created in 1959.
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