Fassbinder's Optimism in 'Eight Hours Don't Make a Day'
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Avoid such a scenario with mSpy. And we love you too: Fassbinder's optimism isn't cock-eyed but beady-eyed.Tyler Perry's Madea Gets A Job - Clip
In the first scene, a family birthday party, two different people are slapped and a multiplicity of bickerings erupt. People will be slapped throughout the series -- a social convention observed by Fassbinder not impassively but anthropologically -- and the family will never stop arguing among themselves. This sounds like the makings of a glum plod on evil and the uselessness of life, but not so, far from it.
Instead, the series of small and large triumphs snatched from the teeth of social inertia, even entropy, leaves one elated at human potential. This is Fassbinder's version of a "feel-good" film. IMDB As the writer and director, Fassbinder is speaking personally, for he was still in the first phase of having bulldozed his way into establishing himself as a theatre and film director by doing what he wanted without taking "no" for an answer, even after being rejected by film school.
His tireless success in writing and staging plays with a loyal repertory of artists, who then followed him into cinema, led to making connections with WDR, West Germany's public broadcasting station, as it was offering opportunities to young filmmakers of what would be called the New German Cinema.
Fassbinder ran with it. In came the shot-on-video Bremer Freiheit, about a woman who poisons everybody and where is this? Any random five minutes tells you how Fassbinderian it is. Here is Dietrich Lohmann's camera twirling and swirling around the room, panning across every face, suddenly zooming into a closeup on a seemingly irrelevant bystander who observes all from a dramatic distance, just as Fassbinder would continually ask us to stand back, like his idol Bertholt Brechtand analyse the meaning of what we see.
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Now and then, we even get a god's-eye-view from above, whether its meaning is to emphasize the isolation of one character or the unity of many is for you to decide. Here are the familiar Fassbinder faces, whether in starring roles or dropping by around the edges for a cameo. Here are their characters getting drunk in bars while major American records play on the jukebox -- Janis Joplin, Velvet Underground, Elvis Presley, Little Richard, Neil Young, Leonard Cohen and others whose clearances must have cost a pretty penny, making us wonder how this project can make a profit.
Even in its seemingly accidental details, how to profit and who gets the money is foregrounded in this series. IMDB The events are structured around a series of couplings. Tall, swaggering Jochen Gottfried Johnwho makes tool parts in a factory and whose face becomes all mouth when he smiles, brashly hooks up with the quieter, more thoughtful Marion Hanna Schygullawho works in a newspaper's classifieds section.
Although he comes on like he knows the answers, her middle-class mind will prove gently instructive as she draws him out on the subject of work. Just as abruptly as Jochen picks up Marion at a vending machine, his Grandma Luise Ullricha major Austrian star of the '30s annexes to herself a slightly doddering Gregor Werner Fincka legendary cabaret comedianwhom she happens to sit beside in a park where he's reading Lady Chatterley's Lover.
Before he understands what's hit him, she's corralled him into hunting for an apartment together. Grandma "Oma" is hands-down the most delightful character.
Almost everything she says is funny, as is her manner of delivery, and she plays perfectly off of the more phlegmatic but clearly tickled Gregor. More than a spunky grandma type though she serves as thatshe's the wily soul of scheming, making do and getting by, determined to manipulate things for her convenience.
If she didn't have a kind and caring soul, she'd make a terrifying dictator. She knows that things are arranged against her, and she must seek the advantage.
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Her most heartening victory occurs in the second episode, when we can hardly believe her chutzpah in deciding that an abandoned library building, for which the city has no plans, should be converted into an ad hoc kindergarten for the neighborhood kids.
When the police step in to put the kibosh on her unlicensed enterprise, the chorus of neighborhood housewives organize a committee to bring pressure on City Hall.
Jochen defends her by saying those who take action are always right, which is an interesting philosophy.
It might depend on the action, but he's concerned with how his factory manipulates his co-workers unfairly. Even with Marion's prodding, it takes him a great deal of effort to think because, as one of his colleagues observes, it's hard when you've never had to think before, but they're stumbling their way, amid arguments and setbacks, to organizing and making their wishes known to management.