User reviews

Some geniuses are made, not born. Fassbinder, who has become one of my very favorite directors, did not begin his career making masterpieces, but clumsy art films. Katzelmacher is the story of a group of bored Germans, several men and several women, who spend their lives sitting, talking, smoking, and screwing each other (often for money). They treat each other like garbage, though they are too lazy to do any real damage. However, when a Greek immigrant rents an apartment from one of them, their cruelty becomes more and more tangible. The women begin spreading rumors about how the Greek (incidentally played by Fassbinder himself) is sleeping with certain members of the group and how he has tried to assault a couple of them. The men call him a communist behind his back, and then right to his face, as he speaks almost no German. When the Greek actually begins dating one of them (played by Fassbinder's most beloved actress, Hanna Schygulla), their threats no longer remain merely threats. It's a great story, really, and, if done in Fassbinder's more honed melodrama style, one of the most unique directorial voices we'll ever hear, it could have been a great film. But, in this early stage (this was his second feature film), Fassbinder was more of an avant-guard artist, striving towards Brecht, I suppose, and maybe looking towards the French New Wave. The results are mixed, but mostly leaning towards the annoying side. The film plays like a 90 minute Calvin Klein ad, with the camera lingering too long on motionless, disinterested performers. One of the better scenes has one of the actresses singing an American song in a delightfully amateurish manner while dancing. Somehow this is very beautiful. There is a repeated scene where two characters will walk forward on the same street, arm in arm, with soft piano music in the background (the only extra-diagetic music in the film). This gimmick didn't work very well. While there are some beautiful bits of the film – besides the aforementioned dance, the relationship between Fassbinder and Schygulla is rather gentle and melancholy – it pretty much fails. It's very worth seeing, however, if you're interested in the way Fassbinder's amazing career developed.

I think in big parts the film is about dynamics. Different couples with different dynamics. One couple in which the man treats his woman harshly, one in which he treats her more tenderly (until he is eager for more money) and one in which the woman has the upper hand in the household, apparently because she brings home the money. Yet they all seem to be in love with their partner and they are all friends with each other.

Money also plays an important role overall. Those who have money are more oppressive and dominating. As if having money gives one more of a right to tell your partner what he or she should do in things that have nothing to do with money. Two of the men consider doing something illegal, that should bring big bucks. This was the cause for some quarrels with their women who found the idea appealing but didn't want to risk it. We never learn what it was they had planned and eventually they dropped the idea. But the relationships with their women were hurt permanently by this dispute.

Everyone seemed to have sex with everyone (except the ugly woman), without being much of an issue, but hey, it was 1969. In fact, it only was an issue when one of the women demanded money for it. It made her a whore, but the other women doing it for free didn't make them whores. Except for maybe the woman who was said to have sex with the guest-worker from Greece.

The scenes of always two different characters walking, with the melancholic music I understood this way that the two people talk differently to each other when they are among themselves. Always more tender, no matter which two people it were. But once there are at least three people the dynamics change for the worse.

At the beginning I found the film quite alien, because of the apparent disjointness of the scenes, but the better I knew the characters the more drawn in I was and I soon started to get something out of most scenes. It was also alien because I was not used to the way they talk. Pretty stagy in pronunciation and phrasing. This could possibly be contributed to the fact that the cast and writer/director Fassbinder all came from theater with little film experience at that point.

There was no sense of time. It just goes from one conversation to another. From the dialogue you could gather that a lot of time passed overall, but it isn't really important to know how much. It was just important for the movie so to not have the plot stagnating, to see different sides of the characters. Although it could also be argued again that you don't get a sense of time passing because Fassbinder didn't yet know any better, since he was rather new to the medium of film.

There's not that much plot to Katzelmacher, but it's interesting the way it is. We're kind of looking at the late 60's German equivalent of what we might've seen in the 90's with certain movies (Clerks, the Linklater efforts, Kids) where we just see people hanging out and talking, but never about things that will really change their lives or affect them. This is accurate to disaffected youth, though Fassbinder makes it a little sexually charged here and there - nothing explicit, but there are some relationships that have fits and starts, mostly fits - and a 'new' person. A Greek man comes as a newcomer, and he's not really welcome. This makes up the conflict, though it doesn't seem that way at first.

It's tough to fully recall why the group turns on this Greek guy - maybe he said something or did something that made them turn, or it was his funny accent or way of speaking (I certainly remember the latter as it was one of those things that stuck out) - but the point is clear. Alienation drives so many of Fassbinder's story, and it's not simply the characters but the style itself here that gives off an alienating vibe. We see many shots that are just static on these guys (Fassbinder being one of them in the cast) hanging around, sitting down, smoking, talking, aimless, and then it'll cut to a shot of two women walking and talking in an apartment complex, and these are the only shots where music comes up (the same tinny piano music, by the way). It's in this atmosphere, in black and white no less, that things that look AND feel the same all the time can get disrupted by just one character.

I don't know if this is really among the director's best, and it's best I think to look at it as an early experiment. Certainly things he's dealing with here he'd explore throughout the rest of his career. It's not particularly engaging in the way of A-B-C unfold. You're just watching this very slow moving car wreck that's unfolding in a way that doesn't seem like it. Again, akin to one of those low-key character studies that would pop up in American independent cinema decades later. But it is interesting, for what it is, especially if you can be open to its intended aim of being *about* aimlessness and the way that underneath that is a lot of darkness.

Katzelmacher changed many people's lives when it came out. One has to wonder how exponential the effects were, but the waves that films like this make are usually much greater than most viewers can fathom. (For example, although very few people are familiar with John Cassavetes' Shadows, that film affected Martin Scorsese profoundly.)

In the interesting documentary, I Don't Just Want You To Love Me, Fassbinder claims that he didn't move the camera much during this time for aesthetic reasons. His cinematographer (Dietrich Lohmann), however, says that aesthetics had little to do with it; they simply couldn't easily move the bulky camera and dolly, and they had no budget to rent better equipment.

This film is part of an experimental avalanche, and it is amazing. The particular art house feel is a result of the times, and as Fassbinder moves on it is fascinating to contemplate how he gets his message across, using different styles. He was truly fearless, and all of his stuff is worth serious consideration.

Katzelmacher becomes even more interesting after viewing his later work.

This movie is hard to find. I haven't seen it in years but remember the overall thing. 'Katzelmacher'is the best RWF ever threw at us. I read a review here earlier, a long synopsis...very interesting. I recall certain scenes. My fav, the walking pairs, threesomes, etc. all shown walking down the same alley gossiping, at various points in the film. A beautiful piano waltz accompanies each group as they walk. It struck me that RWF filmed all of these scenes one after the other in keeping with the motto of their clan of actors, "Cheaper, Faster, Better.", or something like that. If you notice, there's the same car parked in the background, and it appears the scenes were all shot about the same time of day. "Next!" The Peer Raben waltz is so beautiful. I played it on guitar at my father's funeral. I believe Peer called it 'Valse Katzelmacher'. I could be wrong on that, too. No matter, it's a heartfelt piece of music! I fell in love with this group of actors. It was always, "I wonder who's gonna be in this one?" and then..."Oh, Wow, Great! So, 'Katzelmacher', an absolute must for Kine buffs.

In this quietly scathing film from Fassbinder we have a portrait of a community and of a country. It happens to be West Germany, but could have been anywhere, and the words ' We belong here and no one else ' are as applicable today as they were back in 1969. The group are made up of men and women who talk to each other in front of a generic house with flowers on the window sills, and then they go to what they call a tavern and play cards and continue mouthing banalities that are so cruel and appalling that I wanted to close my ears to what I was hearing. The men when not talking abuse their women and this is portrayed as being casually ' normal, ' and one of the men is a male prostitute who kisses his male clients. Money and how to get it, criminally or otherwise dominates their conversations, if you can call them that. And they want the ' normality ' of this existence until a ' foreigner ' enters their community. Fassbinder himself plays this role and he is excellent. The foreigner is Greek and rumours start circulating such as his penis being bigger than the other men, and jealousy begins to enter this communal garden of evil. What happens next I will not reveal, but as in all Fassbinder the taking of money by fair means or foul is dominant. Personally I like Fassbinder's earlier films, and this I believe was close to the beginning of his incredible output. The near static nature and use of minimal sets has by some been put down to lack of money, but I believe he needed us, the viewers, to focus and the camera, almost unmoving, makes the content pitilessly accurate. I rate Fassbinder to be one of the handful of the greatest film directors and this film is in my opinion equal if not better than some of his last work. Sheer genius.

This early Fassbinder film concerns a group of dissatisfied and directionless young people who turn their attentions away from themselves and the relationships within their inner circle when a young Greek man arrives looking for work and lodging. Soon the group rumour mill goes into overdrive as they perceive the young man as an outsider and so demonise and persecute him.

Another great character driven piece by the German maestro with the ugliest facets of human nature being explored as the members of the insular and narrow minded group start to spread rumours and make their prejudices known towards young Jorgos. After an innocuous chance meeting in the street with one of the women from the gang, the group's Chinese Whispers soon snowball to him having tried to rape her as well as other crimes such as him being a Communist.

The men of the group then seize their opportunity to beat him up for crimes he isn't guilty of.

Conformity, group hysteria and mobbing by the gang are all explored perceptively within Katzelmacher which makes it, unfortunately, ring all too true.

Beautifully acted, perfectly framed and directed and with a gorgeous late 60's black and white which is icy cool and absolutely gorgeous.

Look out for the scene of the young woman dancing.

Highly recommended.

Until recently "La Guerre du Feu" rated as the worst movie I ever saw. Then I saw "Katzelmacher". A completely useless, empty meaningless piece of utter boredom. The mercifully short scenes are filled with utterly meaningless conversation, delivered without the slightest form of emotion by actors who seem to be to stoned to care anyway (but hey, it's 1969, so I guess that's allowed...) The little action there is, is pointless and boring. Do not look for a story, because what is supposed to be the story has no end whatsoever. I have always been taught that a story has a beginning, a middle and an end. That is definitely not the case here. I guess what irritates me most, is the fact that it's supposed to be that way. Everyone involved goes out of his way to make the experience of watching as taxing as possible. The movie is profoundly un-understandable and it is probably exactly that which has led to its' success. Pretending to understand something that others don't, was and is still the ideal way of setting oneself apart from the others.

The lingering shots, the long continous takes allow for the story to unfold without distractions. Accenting this also is the stark black and white. These uneventful shots and use of black and white also symbolize the bland lives of the people. Which sets-up an uncommon reaction. Since there lives have no action. A simple arrival of a foreigner has these natural gossipers excited and mysteriously annoyed. Soon their jealous and rumours are started. A quiet man only looking for work is transformed into a beast.

Thus the film becomes an engrossing social commentary on prejudice and the effects of that and of jumping to conclusions. As well as taking an anti-gossip stand. The film would be a wonderful example in illustrating the events of any countries racial issues.

In may be demanding of the viewer though. The long shots and an hour of simple conversation and savage romance become tedious. Hanging on through the whole film though will be rewarding.

Katzelmacher follows a group of young people with no purpose in their lives whatsoever, they simply waste their time without doing anything meaningful. However, it's not until Jorgos arrives, a Greek immigrant played by Rainer Werner Fassbinder himself, that their disgusting personalities unfold in all their glory. The only exception is Marie (Hanna Schygulla), whose compassion for Yorgos and their relationship provides the only warming moment. That's when the movie turns into a prophetic social commentary on themes such as racism, xenophobia or the power of rumour and prejudice.

Fassbinder adopts an artistic/experimental style. Examples of that would be the use of black and white, the camera that doesn't move or the repetition of variations of the same scene. All of that leads to the movie being - intentionally so - just like its characters' lives, dull and frustrating.

Of all the films that make me laugh out loud, "Katzelmacher is probably the blackest. How else to justify the enjoyable quality of a movie in which almost all the characters, if not human scum, act that way most of the time. Make no mistake, the young Fassbinder knew exactly what he was doing when he made this early brilliant piece. Every shot has been planned with a single mindedness that enhances the meaningfulness of his exploration of xenophobia and its causes in dissatisfaction with financial circumstances and unfulfilled human relationships. Some eight or so young people of mixed sex pass their time in mainly useless activities. When they are not having it off with one another, generally in a lacklustre way, or playing cards in the local café they spend the time lounging about in the street outside an apartment building, their apartness from each other expressed in the horizontal line they form as they lean against a railing generally staring towards the camera. The building behind is not a slum. It could be a middle class dwelling in any town. The white wall behind is punctuated by windows with flower boxes. This and other settings are never sordid, merely dull. Inside buildings, by seldom moving, the camera reflects the inertia of these aimless people. For the first third of the film nothing much happens. Then there is the sudden entry of a young Greek worker, played by Fassbinder himself, to ignite the latent xenophobic prejudices of the rest of the cast. They wind each other up by exaggerating all those qualities they feel the Greek might have, including being a rapist and worst of all a communist. The men need little to start them off once they learn from one who shares a lodging with the Greek that he has a bigger dick than the rest of them. For the women it is the unfounded rape allegation that sparks indignation and a call for vigilante violence. At the same time as being enormously funny, this part of the film in its depiction of xenophobia as the product of ignorance is hammered home with ferocious integrity. Perhaps the most original touch is the punctuation of the action at various points with brief sequences in which different pairs of characters stroll very slowly between the same two rows of garages to the accompaniment of a badly over-pedalled performance of a piano Schubert waltz. Their laconic comments have the function of a kind of Greek chorus, binding the film together in a curiously subtle way. If you are looking for an early Fassbinder gem, "Katzelmacher" is the one I would recommend.