#FOX AND HIS FRIENDS

[pierppasolini]

Faustrecht der Freiheit (1975) // dir. Rainer Werner Fassbinder

[diorchitect]

Fox and his friends (1975). Dir.: Rainer Werner Fassbinder.

[cinematicmasterpiece]

fox and his friends (1975)

[colourfulgreyscales]

Almodovar clearly knew what he was doing!

I mean:

Pedro Pascal also kinda looks like Fassbinder. So there is that.

(I still kinda wish Jake was Michael Fassbender. But hey, at least I have The Forest From the Trees to write).

Also, I wonder if Almodóvar watched Slow West or not. Maybe not, but the big coincidence of Silas/Jay and Silva/Jake continues to tickle my brain (as well as the actor playing Jay being in The Power of the Dog).

[introspect-la]

FOX AND HIS FRIENDS DIRECTED BY RAINER WERNER FASSBINDER COSTUMES BY HELGA KEMPKE (1975)

[antichrstar]

Directed By: Rainer Werner Fassbinder

[celluloidrainbow]

FAUSTRECHT DER FREIHEIT (1975) dir. Rainer Werner Fassbinder Fox is a young, gay member of the German working class. When he meets the older and dapper Max, who has upper-class roots, Fox thinks he may have found someone to help him out, but Max refuses to do so. However, this changes when Fox wins big on the lottery, and Max becomes friendlier and helps to reinvent Fox. But, in fact, Max and his friends are slyly trying to swindle him out of his new fortune. (link in title)

[tobydammit68]

Fox and His Friends (1975) Dir. Rainer Werner Fassbinder

[junglejim4322]

Fox and His Friends (1975)

[tunasaladonwhite]

[byneddiedingo]

Rainer Werner Fassbinder and Peter Chatel in Fox and His Friends (Rainer Werner Fassbinder, 1975) Cast Rainer Werner Fassbinder, Peter Chatel, Karlheinz Böhm, Harry Baer, Christiane Maybach, Adrian Hoven, Ulla Jacobsson. Screenplay: Rainer Werner Fassbinder, Christian Hohoff. Cinematography: Michael Ballhaus. Production design: Kurt Raab. Music: Peer Raben. I have a feeling that Fox and His Friends seems much less exotic or sensational to viewers today than it did in the mid-1970s, given the steady movement of depictions of gay men into mainstream entertainment. At the time it created outrage, not just from defenders of the heterosexual norm but also from the gay community, which found much of it distorted and unflattering. But Rainer Werner Fassbinder's story is not about being gay, it's about being exploited, about mistaking predation for love. Fassbinder's Franz Biberkopf, known as "Fox" from his gig as "Fox the Talking Head" in a sleazy carnival act, is a classic naïf who is taken for all he's worth -- which is the 500,000 Deutschmarks (a bit under $125,000 in the day) he won in the lottery. Fassbinder the director doesn't make it clear that the well-dressed guys Franz meets after one of them, Max (Karlheinz Böhm), picks him up outside a public lavatory, are intentionally trying to fleece him, until Eugen (Peter Chael), whose father's printing business is in financial trouble, sees a way to persuade Franz to rescue the company with a sizable investment and promises of part ownership of the firm. It could be, of course, that Eugen just gets a kick out of sleeping with the working class Franz. But he throws over his current lover, Philip (Harry Baer), and takes the rough-hewn, slightly homely Franz into his home and bed. Is Eugen telling the truth when he tells Franz that he's being kicked out of his apartment for being gay? It would be entirely plausible in the place and time. Or is it a lie that gives Eugen an opportunity to persuade Franz to buy a posh new apartment, and to furnish it with opulent antiques from Max's shop? And to go along with Franz's new image as a haute bourgeois businessman, he of course needs new clothes from Philip's fashionable shop. None of this exploitation feels premeditated except in hindsight, as Franz becomes Eliza Doolittle to Eugen's Henry Higgins -- though with less overt success. The resulting film is a superb tragicomedy, one of Fassbinder's best films, I think. Fassbinder turns out to be as good an actor as he is a writer and director, giving Franz just the right blend of naïveté and street smarts. I think the ending of the film is a shade heavy-handed, but the rest of it is full of extraordinary satiric moments: The horrifying scene in which Eugen brings Franz to dinner with his parents. The vacation in Morocco, where the man* Eugen and Franz pick up on the streets is refused entrance to the Holiday Inn Marrakech -- though wouldn't a pretentious bourgeois like Eugen have chosen a tonier hotel? -- because it doesn't admit Arabs. (The employee refusing the entrance, himself an Arab, suggests that if they want boys, he could provide some from the hotel staff.) And the moment of truth in which Franz realizes he's been conned is shattering. Michael Ballhaus's vivid color cinematography is complemented by Kurt Raab's production design, especially in the garishly overdressed apartment which includes a chandelier hanging so low that guests have to walk around it, that Eugen puts together with the most expensive pieces from Max's antique shop. Only after Eugen and Franz break up does Eugen reveal that he hates the place: He has clearly condescended to what he thinks an uncouth working class guy would think is the height of fashion. *Played by El Hedi ben Salem, the star of Ali: Fear Eats the Soul (1974), who had been deported to Morocco after a bar fight in Germany. Brigitte Mira, ben Salem's co-star in that film, also has a cameo as the shopkeeper who originally denies Franz admittance to her store to validate his lottery ticket until the suave Max flatters her into it.

[pierppasolini]

Faustrecht der Freiheit (1975) // dir. Rainer Werner Fassbinder

[shiningwizard]

Fox and His Friends (Rainer Werner Fassbinder, 1975)

A speaking head grows a body, that body gets some money. Commodities for others to peck away at. The commodities they want, the speaking head is an unseemly inconvenience. Body loses its head. Big Fassbinder blindspot for me this one. Not as amazing as a whole as i'd hoped, but deeply so in parts, most to do with Fassbinder's character: acting, framing. Perhaps guarded. It was interesting to hear him speak about cinema audiences not being open to gay characters and having to find ways of making this palatable. I never factored him considering audiences at all, just an ardent, ever-honing monomaniacal force that pushed out movie after movie according to his own needs, impulses or frenzies.

[josefksays]

[notesonfilm1]

Fox and His Friends/ Faustrecht der Freiheit (Rainer Werner Fassbinder, West Germany, 1985)

A film that frightened me when I first saw it as a teenager. Richard’s only now seen it. Does it hold up? Made at a time when there was a real dearth of representation, this is a daring work, as queer as a film can be, on many levels. The problem is not homosexuality but bourgeois exploitation, including by gay men. Why hasn’t Fassbinder been canonised by all the young queer boys? We speculate on…

[stevenrogered]

Can we also talk about how Buck has feelings for Tommy...who is literally a carbon copy of Eddie?