taxi zum klo
looking for movie tickets? enter your location to see which movie theaters are playing taxi zum klo near you .
'' taxi zum klo'' will be shown tonight at 9: 30 and sunday at 2 at the new york film festival .
taxi zum klo treats sex seriously without sacralizing it; throughout the film, ripploh reveals a wry intelligence about the eternal dilemma of monogamy versus promiscuity .
taxi zum klo is screening as part of metrograph a to z, a collection of films we think everybody should see. click here for more info .
in 2011, taxi zum klo was resubmitted to the bbfc for a cinema and dvd re - release and was passed 18 uncut, with all previous cuts waived .
a refreshingly non - judgemental and amusing portrait of homosexuality in the pre - aids era, taxi zum klo matter - of - factly addresses the mundane and the perverse .
the village voice hailed it as' the first masterpiece about the mainstream of male gay life'. taxi zum klo tied with beau - père in winning the 1981 boston society of film critics award for best foreign language film .
the village voice hailed it as' the first masterpiece about the mainstream of male gay life'. taxi zum klo tied with beau - père in winning the 1981 boston society of film critics award for best foreign language film. (wikipedia )
taxi zum klo is a truthful film, revolutionary in its time, about love, the pleasures of promiscuity and the fears of the fading of desire. shot just before the great aids scare of the early 1980s, it now has a peculiar place in social and cultural history .
a ground breaking film to challenge the taboo of the german culture. made with a shoestring budget, taxi zum klo is a marvelous film looking at the struggles ripploh himself faces as a public school teacher in the day, but an active hustler at night. the explicit content was sure to shock many, i thought the use of jumpcuts with vintage pornography was quite a clever twist in terms of editing. taxi zum klo was also hilarious to watch with its use of awkward comedy. perhaps not for everyone but certainly an interesting piece of art house gem .
frank ripploh emerges from'' taxi zum klo'' ('' taxi to the john'') as a funny, cheerful, sympathetic fellow. in view of the fact that mr. ripploh, who directed the film while also starring in it, has graphically filmed himself doing such things as undergoing a rectal examination at a vd clinic, this is no small accomplishment .
taxi zum klo
does not contain much explicit sex, but the sex it does portray is graphic and will probably shock some viewers. ripploh believes he could not make an honest film of his life without showing us all of it, and his frankness redeems even his most scatological scene .
ripploh wrote, directed, and starred as himself in taxi zum klo, a movie documenting the life of mr. ripploh in west berlin. a schoolteacher by day, and sexually free and obsessed homosexual by night and sometimes day. the film opens with frank waking up naked and sneaking across the…
'' taxi zum klo,'' which is very sexually explicit even by pornomovie standards, is also a believable and sometimes touching portrait of a german homosexual schoolteacher and his circle of friends and lovers. it ought to be believable, because mr. ripploh acknowledges it to be almost entirely autobiographical .
on its first release, taxi zum klo (1980) was seized by us customs. the film (its title translates as taxi to the toilet) was written and directed by frank ripploh who also takes the lead role of a schoolteacher who likes sex. he marks student essays while sitting on cottage toilets, picks up garage attendants, tells his homebody boyfriend that he’s going to clubs to pick up strangers .
aside from making this a film not recommended to the puritanical or fainthearted, the nudity and explicit sexual activity in'' taxi zum klo,'' although not gratuitous, do constitute a failure of imagination. like any kind of explicitness, the kind on which mr. ripploh relies is the most obvious representation of attitudes and behavior that might have also been represented in other ways. the sex and nudity will undoubtedly account for part of the film' s popularity with some audiences, but they will also put off others. and'' taxi zum klo'' is of sufficient quality and interest for that to be a shame .
german native frank ripploh directs and stars in his 1980 feature taxi zum klo, which follows the public and domestic life of a gay schoolteacher residing in west berlin in the eighties. frank ripploh stars as the eponymous protagonist, along with bernd broaderup as bernd, orpha termin, and hans - gerd mehrtens as the leather boy. urltoken
taxi to the john (taxi zum klo), directed by frank ripploh; screenplay (german with eng - lish subtitles) by mr. ripploh; photography by hor st schier and johannes geyer; edited by gela - marina runne and mathias von gunten; music by hans wittstadt; produced by mr. ripploh, horst schier and laurens straub; a promovision international films ltd. release. at alice tully hall, part of the 19th new yo rk film festival. running time: 92 minutes. thi s film is not rated .
the intention was that the new category would allow' sex' films to be shown in sex clubs, such as those in soho, as well as allowing more explicit material than usual to be shown in more serious cinema clubs. the effect of this legislation was that, from 1983, it would be necessary for taxi zum klo to obtain an r18 certificate if it were to continue screening in cinema clubs .
in watching a 33 year old movie about homosexuality, i realized just how old some of the struggles within gay culture are. it' s easy for a younger generation to think that certain struggles are newer because some of the situations and adaptations that have developed are newer. but, by recording a specific culture so personally, as frank ripploh did in taxi zum klo, the macroscopic problems show up in different forms .
taxi zum klo
wird auch unter dem genre komödie eingeordnet, was beim (heutigen) publikum wohl eine falsche hoffnung wecken könnte. wer dumpfen heteronormativen
tuntenhumor
erwartet (looking at you ,
( t) raumschiff surprise
), der wird ebenso enttäuscht wie jene, die meinen, mit solch einem label würde es nicht zur sache gehen. hier ist der sex echt, ungeschönt und eben schwul. heutzutage ist man geneigt, diesem umstand nicht allzu viel bedeutung beizumessen, aber mit dem blick des (mainstream -) publikums des jahres 1980 rückt sich
taxi zum klo
in eine andere perspektive. am ende des tages ist eine sexszene zwar
nur
eine sexszene, egal, welches geschlecht die beteiligten haben, aber die selbstverständlichkeit, mit der der geschlechtsakt hier gezeigt wird, entbehrt nicht des
muts
, der dem film…
taxi zum klo (translated
taxi to the toilet
) brushes right past sexual freedom, unquestioned as vital, and starts with the question: now what? as men unrestrained by traditional structures of marriage, children, religion and monogamy (let alone ideas of shame and self - loathing that dominated american queer films of the era being seen as completely in the rear - view) the world is wide open but you still need to pick a direction. to try to do everything you want at the same time is for the children, and leads to madness .
in 1994, taxi zum klo was formally submitted for video classification. on this occasion, the distributor was more amenable to cuts and cuts were therefore made to remove the material that had proven legally problematic in 1981 as well as to the more explicit sexual and genital detail. ultimately the film was passed 18 for video release after one minute 43 seconds of cuts. subsequent to this, the film was submitted for video classification by film four channel in 2005 .
the triumph of
taxi zum klo
is that, in the midst of its portrait of isolation, frank ripploh himself emerges as a cheerful, open man, willing to reveal his weakness, willing to hope that things will take a turn for the better. the movie is about a person, not about his sex life. it understands that all of our identities and lifestyles are just hopeful strategies in the search for a sense of belonging, usefulness and love .
taxi zum klo
is an unsparingly honest film, documentary matched with (i assume) docudrama, in which ripploh reveals himself fearlessly. the revelations that must have taken the most courage are not the ones about his homosexuality, but the ones about his unhappiness, his sense of inadequacy. he appears in this film to be seeking a life of openness, love, beauty and loyalty to a lover - - and at the same time he marches on a treadmill of futile promiscuity .
disc # 1 - - taxi zum klo 1. rough morning [ 8: 49 ] 2. cruising [ 7: 12 ] 3. a woman in trouble [ 11: 33 ] 4. a future together [ 7: 15 ] 5. parent teacher conference [ 8: 40 ] 6. dealing with infidelity [ 4: 17 ] 7. doctor' s appoitment [ 8: 33 ] 8. third - class patient [ 5: 57 ] 9. from the taxi to the toilet [ 7: 28 ] 10. coffee at irmchen' s [ 6: 33 ] 11. queen' s ball [ 5: 36 ] 12. roll the dice [ 8: 13 ]
taxi zum klo, perhaps the best semi - autobiographical gay german film of 1982, is being re - released to satisfy what we can only presume is a horny and unfazeable public desperate to see more ultra - realistic (yet grainy) shots of bearded men screwing in public toilets. ho hum. lent a desperately sad innocence by its pre - aids dismissal of the health risks of going at it with whoever turned up, this has aged unusually but very well. worth a watch if it happens to be on in your area .
meanwhile, ripploh gets fired from his job (for staying out too late after a drag ball and imprudently turning up in his classroom in drag). he contract hepatitis, is hospitalized, and, in the movie' s saddest scene, leaves the hospital bed in his patient' s gown, and hails a taxi to take him to a rendezvous with an anonymous stranger (hence the title' s english translation ,
taxi to the toilet
) .
taxi is an unusual film which demands a lot of its viewers. some will resent those demands. but it' s a film that is too uninhibited, too honest, too good, too well made, to ignore or dismiss. it deserves to be seen .
i watched' taxi zum klo' in 1985, at my uni times, at age of 18. that version was a wildly mutilated one, but i had the option of getting the complete version of it much later. back in 1985, it was the first time i realized i could live a regular life being gay, enjoying it, sharing it. after watching it i told my friends, family and people i loved. never regretted it. so, this film made a huge impact in my life. i guess there is a small chance of anybody who toke part in the making of this film to read this comment (sadly, not it' s director). if yes, thanks for this film. twenty years later, i' m more a frank than a bernd (lol), but... thanks anyway .
i suspect bruce labruce' s take on taxi to the toilet is the one most worth reading if you' re interested in knowing just what this movie is about, and how well it is handled, by someone with a familiarity with the time and what was being expressed .
frank ripploh' s autobiographical study of a homosexual teacher was first submitted to the bbfc in september 1981. the film focusses on the tension between the central character' s professional life as a school teacher and his personal life in which he engages in gay sex with strangers, often in and around public lavatories (the film' s title translates as' taxi to the toilet') .
i' m at a point where i wonder if reading this against (the almost certainly directed by wes craven) the fireworks woman, an explicitly (straight) pornographic film from a half - decade prior, would be fruitful. the fireworks woman is about a brother and sister who have sex until the brother enters the priesthood, at which point the sister wanders through sexual encounters (including an extended rape scene) before reuniting with him. taxi to the toilet is…
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best film editing (awarded in memory of karen schmeer) - daniel p. hanley and mike hill for rush
note: this year' s awards are dedicated to the memory of robin dougherty, a former boston phoenix film critic who passed away this summer .
note: this year' s awards are dedicated to the memory if david brudnoy, one of the society' s founding members and gracious host of the meetings for many years .
best cinematography - olli barbé; michel benjamin, sylvie carcedo - dreujou, laurent charbonnier (i), luc drion, laurent fleutot, philippe garguil, dominique gentil, bernard lutic. thierry machado, stéphane martin (i), fabrice moindrot, ernst sasse, michel terrasse and thierry thomas (i) for peuple migrateur, le
best actor - tie: brian cox (i) for l. i. e. and denzel washington for training day
best supporting actor - tie: william h. macy for pleasantville and billy bob thornton for a simple plan
best screenplay - curtis hanson (i) and brian helgeland for l. a. confidential
best supporting actor - edward norton (i) for the people vs. larry flynt (and for primal fear and everyone says i love you )
special award - liane brandon, boston independent filmmaker (how to prevent a nuclear war, et al .) special award: richard williams, animation director on who framed roger rabbit? best discovery or rediscovery: the manchurian candidate (frankenheimer), frankenweenie (burton), lacombe, lucien (malle), the magic garden of stanley sweetheart (johnson), blood feast (lewis) best film series: hollywood b. c. / before the code (brattle), the hollywood musical: a tribute to irving berlin (boston public library), dennis hopper: from method to madness (ica), re: vision film festival (brattle, ica, hfa, and boston film / video foundation )
special commendation - orson welles cinema, cambridge. for making available to the public controversial films that might otherwise not have been shown in the boston area, such as' je vous salue, marie' (1985) and the gay and lesbian film festival. jean - luc godard' s
je vous salue, marie
was removed from the sack theatres schedule last fall after protestors objected to its present - day treatment of the nativity story. scheduling difficulties were cited as the reason the gay and lesbian film festival was dropped from the nickelodeon lineup. brazil, norman garwood. for achievement in production design, recognizing its nightmarish depiction of a disintegrating totalitarian city .
special commendation to george mansour - the
repo man award
to the film booker for the nickelodeon cinema, for repossessing repo man from consignment to television .
best director - steven spielberg (i) for e. t. the extra - terrestrial
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a powerful testimonial to a fading way of life. rating: * * * *
18 cert, 94 min. dir: frank ripploh; starring: frank ripploh, bernd broaderup and orpha termin .
these adventures, intercut with scenes of vintage porn, are shot naturalistically with (literally) warts - and - all candour and a good deal of droll humour. the film, far from being degenerate filth, is a loving document of pre - aids berlin, and a touching comedy about the human desire for and struggle to achieve intimacy .
in pictures - the story of love and romance: from adam and eve to tinder and chemsex. compiled by martin chilton
was shown in several cinemas under club conditions without a bbfc certificate, i was lined up to give evidence for the defence were it to be prosecuted for obscenity. my services were not required and the film now stands as a milestone in the history of both free speech and the representation of gays in the cinema .
what helps it retain its vitality is that writer - director frank ripploh (who died of cancer in 2002 at the age of 52) treats his life as
a normal, tired, neurotic polymorphous - perverse teacher
in berlin with the same witty, generous, self - denigratory honesty as clive james and simon gray brought to their heterosexual exercises in confessional autobiographies .
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basically the story of a man forced to finally see the injustice around him. riley’s movie is designed to do the same thing to you. …
the ballad of narayama
is a japanese film of great beauty and elegant artifice, telling a story of startling cruelty. what a space it opens…
roger ebert' s speech on empathy for the
11th hour
series on april 9th, 1994, being republished here in honor of his birthday june 18 .
roger ebert was born on this day in 1942, and died a little over five years ago. i owe a good part of my success…
a look back at robert zemeckis' half - animated classic, who framed roger rabbit, on its 30 - year anniversary .
a tribute to the late tab hunter, a gay matinee idol and hollywood trailblazer .
as the film opens, ripploh is a schoolteacher in west germany. he seems to be a pretty good teacher, cheerful and frank with his students. after hours, he cruises the gay bars and public meeting places, seeking anonymous sex, often with a sadomasochistic flavor. he' s particularly drawn to gay sleaze, to the bars specializing in the theatrical flaunting of sexual identity, to the places in the big city where sex is mixed with danger .
he meets a young man, berndt, whom he values more than most of his partners. they become lovers. they move in together, and ripploh tries to break his pattern of addictive sex and to be faithful to one person. the movies best scenes involve frank and berndt trying to work out the ground rules of a relationship .
how does he feel about his sex life? judging by the movie, he finds the sex itself an exciting addiction, but fears his promiscuity is training him to see persons as objects. the end of the process is clearly a great, bleak loneliness, and it is against his loneliness that he seeks protection with berndt .
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the film has the candor of a journal, as it details the daily routine of the teacher, called'' frank'' by some of his friends and'' peggy'' by others, and affects an intentionally humdrum tone. but it also has the artfulness to shape seemingly unremarkable incidents in a telling manner. the way in which a jigsaw puzzle that bernd, frank' s faithful and fastidious lover, has been working on is inadvertently knocked over or bernd' s irritation at frank' s messy table habits reveal as much about their relationship as a more direct and emphatic narrative might .
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most unnecessary line of dialogue any recent film has had to offer: frank' s telling bernd, while putting on his black leather regalia and swallowing a tablet of lsd:'' and don' t wait up for me. i' ll be late tonight.''
with: frank ripploh, bernd broaderup, gitte lederer, hans - gerd mertens, irmgard ladem - acher, beate springer, ulla topf, franco papadou, hans jurgen moller, tabea blumensche in and magdalena montezuma .
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the distributor indicated that their intention was to show the film in cinema clubs (to which members only were admitted and for which no bbfc certificate was required) and then, when club distribution was exhausted, to exhibit the film in commercial cinemas, for which a bbfc classification would be required .
the bbfc examined the film carefully, also seeking input from legal advisers including qcs. an extensive list of cuts was drawn up that would be required before an x certificate could be granted (mainly to remove sight of erections, penetration, whipping and close up sight of an anal examination). however, the bbfc also informed the distributor that its legal advisers had flagged up two scenes as potentially problematic, even if the film were shown without a certificate in members only cinema clubs .
( 2) another scene showing unsimulated urolagnia (urination onto another person during sex) .
these laws applied equally to club screenings and to screenings in public cinemas. accordingly, the distributor cut these two scenes on the board' s advice before releasing the film (without a certificate) in cinema clubs. however, given the extent of additional cuts required to obtain an' x' classification for national distribution, the distributor decided not to proceed with formal bbfc classification at that time .
in 1982, the local government (miscellaneous provisions) act was introduced. amongst other things, the purpose of the legislation was to close down the existing loophole that allowed members only cinema clubs to exhibit films without the permission of the relevant local council or the bbfc. in future, any cinema club would have to be licensed by the relevant local authority and exhibit only films permitted by the council or by the bbfc .
given the specialised and self - selecting membership of such cinema clubs it was recognised that films shown in such clubs might legitimately be more explicit than those permitted in a public cinema, although what was shown would still have to remain within the law. in accordance with this, the bbfc introduced a new classification of r18 (restricted 18) in 1982 which would allow more explicit material than what was permitted in the x category (simultaneously renamed the 18 category), provided that the film was shown only in licensed clubs .
initially the bbfc had felt that it would be possible to pass the more graphic sexual material in the film at r18. however, discussions with the relevant enforcement agencies quickly showed that any sight of unsimulated sex was likely to be considered obscene under the
. accordingly, when the film was resubmitted to the bbfc in 1983 in order to obtain an r18 classification, the bbfc had little alternative but to offer a long list of cuts similar to that originally demanded for an x classification .
although some of the more borderline material (such as the whipping) was allowed to remain at r18, all sight of erections and sexual penetration would have to be removed. however, given that the film had already been showing in club cinemas for over a year without legal intervention, neither the film' s distributor nor its director could understand the need for additional cuts. therefore the film was withdrawn altogether from the classification process and from club cinemas. in the meantime, the film had been released on vhs in its marginally cut club version and remained available on video, nearly uncut, until after the introduction of the
vanished from the shelves of video shops and from the repertoire of licensed cinema clubs. contrary to the original intention of club licensing, it was found that only sex films (as opposed to' arthouse' films) were commercially viable in a club environment and that the prohibition on more explicit material at the r18 category (under the terms of the
) ultimately led to the death of cinema clubs in favour of illegal distribution on the more convenient medium of vhs .
rules, film four were not allowed to show uncut versions of films that had been cut by the bbfc. however, if the bbfc would pass the film uncut according to contemporary standards - and this could be demonstrated by resubmitting the film to the bbfc - it would be possible to screen the film .
. given that explicit sight of real sex had been passed at 18 in those films it would be indefensible to require cuts in the case of a similarly serious and worthwhile film. the explicit images were justified by the wider content of the film, which comprised a serious and compassionate examination of one man' s sexual life and the tensions this created. in terms of the other material previously censored (even for club screenings) the bbfc similarly felt that legitimate arguments could be made for their retention .
was unlikely to be found obscene. whereas a sex work with similar material might be found to be in breach of the law, the fact that
had a different purpose to a' sex work' (ie its purpose was not merely to sexually arouse) meant that, as an illustration of a particular lifestyle (rather than an attempt to' sell' or eroticise that lifestyle), it was unlikely to render the work as a whole obscene .
and managed to obtain assurances from the relevant german educational authorities that no child had been mistreated in the making of that film. in fact, an adult woman had been used in the close shots showing hands on thighs and a hand entering a man' s trousers. so there was no breach of the
was passed' 18' uncut in 2005, albeit only for television screening .
if you would like to receive regular mailings about bbfc resources, workshops, advance information about events and recent classifications or decisions which we think you may be interested in please complete the form below .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
movies and tv shows are certified fresh with a steady tomatometer of 75% or higher after a set amount of reviews (80 for wide - release movies, 40 for limited - release movies, 20 for tv shows), including 5 reviews from top critics .
this very frank german film is a study of the life of gay elementary school teacher frank ripploh. the teacher' s multitude of sexual adventures are thoroughly and explicitly detailed. those willing to tough it out will be in for a remarkable experience, laced with wit, humor, and poignancy .
[ a ] strong current of humour belies a serious engagement with the general, perhaps intractable problem of whether our impulses toward intimacy and unaccountability can ever be reconciled .
ripploh left teaching when disciplinary action was taken against him, and devoted himself full - time to filmmaking. this, his first feature, was made on a shoestring but the result is a mature work, perfectly controlled and finely photographed .
first released three decades ago, this self - produced portrait of frank ripploh' s excursions into berlin' s gay world is curiously sexless seen in 2011 .
a milestone in the history of both free speech and the representation of gays in the cinema .
three decades ago, this was seen as a challenging
issue
movie. now it looks more like a daring, acid black comedy filmed on the hoof .
a loving document of pre - aids berlin, and a touching comedy about the human desire for and struggle to achieve intimacy .
now, post - aids, the film is a museum piece, but nonetheless enjoyable. sadly, after making an unsuccessful sequel, ripploh faded from view .
this isn' t a moral tale: it' s rather a frank and open appraisal of the german gay scene of the time, sometimes roughly made yet invested with humour and irony .
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frank ripploh is a bit of a rascal: he' s a bearded and shaggy - haired teacher, and he' s gay with a very active sex life and an interest in making films. he keeps his personal life and... see full summary »
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frank ripploh is a bit of a rascal: he' s a bearded and shaggy - haired teacher, and he' s gay with a very active sex life and an interest in making films. he keeps his personal life and teaching separate, but he sometimes corrects student papers in public toilets as he waits to score. he cruises constantly, and one evening, he meets bernd. they become lovers. while bernd is attentive and caring, frank gets bored and continues his polymorphously perverse ways. for how long will bernd and frank tolerate each other' s habits, and for how long can frank keep his sexual orientation out of the classroom? things come to a head during berlin' s annual queen' s ball and the morning after .
banned in britain upon its original release due to its graphic gay sex scenes .
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frank ripploh is a bit of a rascal: he' s a bearded and shaggy - haired teacher, and he' s gay with a very active sex life and an interest in making films. he keeps his personal life and... see more »
frank ripploh is a bit of a rascal: he' s a bearded and shaggy - haired teacher, and he' s gay with a very active sex life and an interest in making films. he keeps his personal life and teaching separate, but he sometimes corrects student papers in public toilets as he waits to score. he cruises constantly, and one evening, he meets bernd. they become lovers. while bernd is attentive and caring, frank gets bored and continues his polymorphously perverse ways. for how long will bernd and frank tolerate each other' s habits, and for how long can frank keep his sexual orientation out of the classroom? things come to a head during berlin' s annual queen' s ball and the morning after. written by
banned in britain upon its original release due to its graphic gay sex scenes. see more »
featured in classics from the vault: changing attitudes toward homosexuality (2011). see more »
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frank ripploh tries to keep his professional and personal life separate. during the day, he is a dedicated school teacher. at night and on the weekends, he is a gay man who is always on the prowl for anonymous sex often in public places. things may change when he meets bernd, a movie theater clerk. bernd quickly moves into frank' s flat and the two talk of their future life together, bernd dreaming of them living together on a farm. but frank, despite loving bernd, feels restless and continues his quest for anonymous gay sex .
ah, the evergreen gay storyline: two men get into a relationship, but one can' t deal with the other' s cruisey compulsions .
i' ve seen this story dozens of times, but what stands out here is the way that ripploh uses myra breckinridge - esque stag inserts to seemingly present these urban gay mainstays - - gloryholes, leather, stand - up sex - - as learned behaviors. i don' t know much about german gay culture, but there' s probably some truth to that idea - - that sex films, if just by being the only medium that allowed gay men to see themselves and their sexuality on the screen, shaped the progression of gay culture in the lead - up to the simultaneous outbreaks of aids and home video. is he saying that' s a bad thing, though ?
i don' t think i' ve ever seen a piss scene that long in any other' arthouse' movie .
queer couples complaining about the number of straights at gay events; mocking the neo - nazis on tv who wish them harm. the more things change .
week 30. a film featured in the new queer cinema: the directors cut by b. ruby rich .
the experimental touches were hit or miss and motivations were sometimes difficult to follow, which i find annoying in a character study, but it was so exhilarating to see a movie older than me where a queer character is living unapologetically outside the boundaries of cis / hetero respectability and isn' t punished for doing so .
a collection of queer characters, representations, and sensibilities on film. from queer masterpieces to camp classics, documentaries to romantic comedies, …
this list collects every film from the starting list that became they shoot pictures don' t they' s 1000 greatest films. this…
it shocked and delighted audiences the world over. it was seized by us customs, restricted to screenings in private clubs in london and paris and terrified the mary whitehouse establishment. welcome to the aftermath of frank ripploh–school teacher, film director and insatiable sex addict !
this film is not currently playing on mubi but 30 other great films are. see what’s now showing
i love how this film has a satirical vibe to it: at the same time it goes deep into underground gay life, it goes graphic and stereotypical. tell me about brave lgbt films that were way ahead their times - this must have been a shock. i' m impressed, it' s definitely a must see in cinema .
a curiously beguiling exercise in honesty and frankness. it' s very much of its time and provides a bolder and more interesting variant on the similarly themed nighthawks made around this time .
like the perfect woody allen movie, only with water - sports and a graphic (medical) anal exam .
falls into a lot of 70s gay cliches, but it' s entertaining, it' s got heart, and i found it really invigorating. it doesn' t hurt that the last 30 minutes or so are easily the strongest part of the film .
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pack your beach blanket for a bittersweet tale of love and summer' s magic .
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writer - director ripploh also inhabits the lead role in this landmark film of german queer cinema, playing an elementary school teacher whose days in the classroom are followed by seamy nights cruising the public toilets for anonymous hook - ups, grading papers in the john as he waits for his next likely prospect—a cozily compartmentalized arrangement that’s shaken up when he meets commitment - minded bernd .
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at the irish box office, the golden rule is that comedy trumps darker subject matter every time, writes tara brady. but will your vote support her theory ?
never mind the awards and the critical wows: once again the great irish film love tester has demonstrated our undying love for broad comedy. this year, national patron saint colin farrell moved into the banana - skin sector with no little elan fright night and horrible bosses, bridesmaids became the indisputable box - office champ in the republic, and the guard became the biggest - grossing independent irish production of all time. budding film - makers take note: the guard’s high concept, folkloric antihero and potty - mouthed comedy proved an irresistible draw .
it’s not rocket science; most of the indigenous titles that have made mainstream waves – man about dog, intermission, the guard – are big, sweary carry - ons. not to be confused with native black comedies. put people on a train at gunpoint and they still won’t go to those. don’t say it won’t happen. have you seen the new begging laws ?
elsewhere, hot stuff coming through: that’s the official irish times health warning on michael fassbender. the actor straddling – and we believe that is the right word – the tippy top of the love tester may well make the oscar shortlist for his performance as a sex addict in steve mcqueen’s shame. an academy award would make a fitting encore to a year that’s seen fassebnder play magneto in x men: first class and rochester in jane eyre .
in recent times ireland has sunk manpower and money into european co - productions with little to show for it. finally, however, the country’s questionable long - distance relationships have yielded gongs and festival hits in as if i am not there and the cannes - conquering this must be the place .
it’s nice to be part of the european movieverse when we’re not exactly the continent’s choice in other realms, but this year we’re really missing those smaller kissable irish titles. austerity ireland calls for smarter, austerity pictures. where have all the micro - budget initiatives gone when we need them most? the best things about irish film have, in recent years, been found in tiny packages such as once and his & hers. would it kill somebody to cook up a decent indigenous found - footage flick ?
as if further proof were needed, 2011 demonstrated that if you want irish audiences to say “ho hum”, give them a black comedy or social commentary. like adam and paul and a film with me in it before, sensation was the latest ill - deserving victim of the curse of the irish black comedy. if you want even fewer friends at the box office, then by all means, start banging on about the state of the nation. it’s the golden rule of irish movie products: shut up and don’t mention the housekeeping .
seriously. for more than five years the irish movie punter has carefully steered clear of films pontificating about, well, ireland. so it doesn’t matter that parked should have spoken to the masses. darragh byrne’s fine debut feature was greeted with the same chilly reception once afforded the tiger’s tail, alarm and 8. 5 hours. global economic meltdown and empty political promises are all very well on the wireless but, in this country, folks have decided they’re not putting up with this sort of thing at the multiplex. the people have spoken. again. cinemas are for going to see bridesmaids, not for speechifying .
our biggest cold - fish turn - offs are costing the nation cold, hard cash, diddling us out of choice at the cinema and wasting valuable resources. arthouse projects in cork and galway are stuck in various stages of development hell (we’re told that work is set to resume on the latter after a whopping 16 - month delay) .
at least in the capital we have the lovely light house cinema, right? wrong. it’s bad enough that light house operators neil connolly and maretta dillon fell foul of unrealistic pre - recession rent agreements in april. but it’s worse that tumbleweed continues to blow across smithfield square. as long ago as last august, curzon artificial eye cinemas submitted the highest bid to reopen ireland’s most kubrickian picture house. so why are we still waiting for the doors to open again ?
review: the film’s freaky visuals are peak psychedelia. the songs aren’t bad either
note: many of our articles have direct quotes from sources you can cite, within the wikipedia article! this article doesn' t yet, but we' re working on it! see more info or our list of citable articles .
in the period in which it was made. ripploh has stated that much of the film was autobiographical .
hailed it as' the first masterpiece about the mainstream of male gay life' .
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all things considered, our predictions for march were pretty much bang on the money – we were perhaps too optimistic about the tempest and the adjustment bureau, and a turtle’s tale definitely had us fooled, but we didn’t do too bad a job. therefore, you should definitely continue to tentatively put your faith in us and see approximately 75% of the films we approve in this blog. cool? cool .
april gets off to a fine start with a weekend of releases including harrowing drama oranges and sunshine. based on the true story of the social worker who discovered that hundreds of thousands of british children had been uprooted from ‘unfit’ families and fostered abroad, it boasts not only a stellar cast (emily watson, hugo weaving) and ken loach’s son jim in the director’s chair; it’s also packing a coveted 5 * rating from bff. we’re not messing around, this is one to watch even if you have to, for example, kill bono to do it.
taxi zum klo is a 1981 film written by , directed by , and starring frank ripploh . the story of a schoolteacher and the contrasts between his public and private lives , the film documents pre-aids gay culture in west berlin in the early 1980s . ripploh has stated that much of the film was autobiographical . the name literally means taxi to the toilet ( or " taxi to the john " , etc. ) , that being a place for casual gay sex . 
taxi zum klo is a 1981 film written by, directed by, and starring frank ripploh. the story of a schoolteacher and the contrasts between his public and private lives, the film documents pre-aids gay culture in west berlin in the early 1980s. ripploh has stated that much of the film was autobiographical. the name literally means taxi to the toilet (or " taxi to the john ", etc.), that being a place for casual gay sex.
taxi zum klo is a 1981 film written by, directed by, and starring frank ripploh. the story of a schoolteacher and the contrasts between his public and private lives, the film documents pre-aids gay culture in west berlin in the early 1980s. ripploh has stated that much of the film was autobiographical. the name literally means taxi to the toilet (or " taxi to the john ", etc.), that being a place for casual gay sex.