beware of a holy whore
beware of a holy whore
rainer werner fassbinder
not easy making films .
it' s a film about brutality. what else would one make a movie about? – jeff in beware of a holy whore
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the directors suite region 4 release, with an audio commentary by dr. adrian martin and an essay by justin vicari represents the best version of beware of a holy whore
( now i want to sit down and watch a triple bill of godard' s
contempt ,
fassbinder' s
beware of a holy whore ,
and wim wenders'
the state of things
... )
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…
don' t let the tongue - in - cheek title, which refers to cinema, deter you. beware of a holy whore is not only one of the most insightful and hilarious films about filmmaking, it is also a landmark in fassbinder' s career, looking back to his brilliantly abstract early films and ahead to his unique melodramas. and it is a probing, multi - layered view of human experience  of frustration, brutality, and especially love  seen through the unlikely but fascinating metaphor of a stranded movie crew. shortly before his death fassbinder made a list of
the top 10 of my own films ,
and he considered this his best picture .
of course, the holy whore referenced in the title does mean the cinema and it is a deliberate pun at how movie - making can be both beautiful and repugnant at the same time. in this film art does imitate real life and by the end of the movie the audience is left wondering which scenes are part of the film jeff is making and which scenes are about the process of the film that jeff is making. this is just another example of
beware of a holy whore also shows fassbinder' s evolving use of music to counterpoint, rather than simply to amplify as in most movies, the emotions of a scene. he deploys a fabulously eclectic soundtrack which extends from the plaintive original score by his regular collaborator, the great peer raben, to a wide range of popular songs  leonard cohen (
suzanne
,
so long, marianne
,
master song
,
sisters of mercy
), ray charles (
let' s go get stoned
), elvis presley (
santa lucia
) and spooky tooth (
i' ve got enough heartaches ,
hangman hang my shell on a tree
), to a haunting donizetti aria .
my grandmother died of a self - induced abortion. in the trump era, her story has taken on a new sense of urgency .
“dear friends and comrades or so: let us consider working on that film as the last chance to examine why things went that way and no other. ” (fassbinder) power, sex and deep insights into the ’68 movement. the location is sorrento, the film is set in spain, and countless cuba libres are drained in the insanity of the plot. the film from 1971 is fassbinder’s re - examination of the chaos that reigned during the shooting of his western whity and his way of “coming to terms with the fact that we dreamed of something that doesn’t exist”. one of the reasons why michael laub has chosen beware of a holy whore as the basis for his piece fassbinder, faust and the animists is that the film was realised by the legendary “antiteater” theatre group .
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shout! factory’s finely packaged blu - ray box set is a red - carpet affair that boasts remastered versions of all three films and a slew of extras .
a central work of the new german cinema movement finally finds its weary way onto blu - ray courtesy of the criterion collection .
rainer werner fassbinder’s tenth feature, 1970’s “beware of a holy whore” (which i discuss in this clip), is included in the crucial new boxed set “ early fassbinder, ” from criterion. the movie is in one of my favorite genres, the inside - movie movie—and it’s a remarkably precocious entry: fassbinder was twenty - six when he made it. the rapidity, consistency, and diversity of his movies—added to their sheer cinematic inspiration—combine to make one of the great wonders of the time. he relied on a repertory company of actors and crew members, and he worked sometimes with virtually no cash in hand, sometimes with producers, sometimes with tv money. he lived furiously and channelled his experience (as here) into his films, but he also built films from classic genres, tabloid headlines, and political events, and invested them all with a sensibility—and a visual style—that is one of the most distinctive and protean in the modern cinema. “i can sleep when i’m dead, ” he said; he died at thirty - seven .
a whirlwind tour of europe through the tales of celebrated filmmakers. all movies are available to stream right now at sbs on demand .
a young west german working - class man wins the lottery and initiates a relationship with a man above his social standing .
gay and bisexual experience in this picture is fully integrated into full canvas of human, if not always humane, sexuality. this is in contrast to that handful of films in which fassbinder focused on same - sex relationships: the lesbian and bisexual women in the bitter tears of petra von kant, a transsexual in in a year of 13 moons, and the gay men in fox and his friends (in which he starred) and querelle. of course, many of his films include same - sex experience in the magins, whether it is actually crucial (as in love is colder than death, where the action arguably hinges on the unspoken desire of the two male leads, played by fassbinder and lommel) or more peripheral (for instance, in chinese roulette there is the sexually ambiguous philosopher cum handyman, gabriel; and the silent governess, traunitz, and even her machiavellian charge, angela, are possibly lesbian or bisexual). in beware of a holy whore, fassbinder has the relative freedom of exploring same - sex relationships in the insular world of moviemaking; although on another level the characters  and we  all know that this is not how things are outside of these confines .
fassbinder was an extraordinary artist, but he was also a great showman on both sides of the camera. people who come to this film hoping for a peek into fassbinder' s tumultuous private life will not be disappointed; but the film offers much more than self - satire, as we will see. although most of his films were compassionate studies of outcasts and loners, fassbinder cultivated a controversial, even notorious, public persona. as a filmmaker, he was often accused  even by friends and lovers  of being demanding and almost impossible to work with; yet most faithfully continued with him on film after film. he was also proudly and defiantly gay, an artist, a leftist, and an intellectual (of the non - pedantic sort) in a society which rarely prized those qualities; and he did not hide the fact that he enjoyed living on the edge, and that included alcohol, drugs, and some tempestuous affairs  all of which was lapped up by the tabloid press. but as titillating as those aspects of his life may be to some, fassbinder emerges, through his works, as a fantasticallly complex individual. all of those qualities can see in beware of a holy whore, whose tongue - in - cheek title both threatens and teases us into fassbinder' s world .
a tribute to the late tab hunter, a gay matinee idol and hollywood trailblazer .
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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…
roger ebert became film critic of the chicago sun - times in 1967. he is the only film critic with a star on hollywood walk of fame and was named honorary life member of the directors' guild of america. he won the lifetime achievement award of the screenwriters' guild, and honorary degrees from the american film institute and the university of colorado at boulder .
that visual sense of trapped - ness intensifies the almost incestuous nature of this overly tight - knit group, who are hundreds of miles from home, frustrated in a myriad of ways, and all stewing together in what feels like a giant pressure cooker. but in addition to all of the angst, fassbinder also mines a rich, sometimes sardonic, vein of humor. with the exception of his wicked farce satan' s brew (which is his other great self - satire), this is his most hilarious picture .
walter, a german anarchist poet, is short of money after his publisher refuses to give him an advance. he tries various ways of raising money, including shooting one of his mistresses and... see full summary »
iconic black leather jacket throughout the film) plays in the movie. since jeff is so obviously a caricature of
as a tramp who finds a gun in a street but doesn' t know what to do with it. the film has some interesting experimentation with sound .
with the new transfer colours are rendered more boldly, primary colours really stand out against the white background of the walls of the hotel, especially in the first half of the film .
hans epp is a self - destructive man who lives a dissatisfied life. he tries to find meaning as a fruit vendor, but a heart attack impedes his ability to work, which turns his dissatisfaction into despair .
jorgos, a migrant worker from greece, joins a group of young people in munich usually hanging around. this foreigner incites hostility and jealousy among them, and he is insulted as a
... see full summary »
fassbinder' s use of music connects with his precise use of rhythm, both within scenes and in the overall flow of the film. he edited virtually all of his films (often under the pseudonym of his small - time gangster character
franz walsch
or without taking credit) which gave him exceptional control of pacing. one of his favorite techniques  as we can see throughout this film  was to slow a scene, especially one with passionate but unspoken emotion, to a painfully slow crawl, forcing us to pull away from the non - action even as we engage on a deeper level with the characters .
. there are 25 speaking roles in this film, and as such it presents those characters in a superficial way because the 100 minute running time of the film does not allow enough time to fully develop some of the more interesting minor characters. these minor characters are symbolic of real - life people who were part of
both the parents of a young teen who walks with crutches, goes on each their secret meeting with lovers, both surprising each other at the family' s county home. the daughter arrives and initiates a guessing game of
chinese roulette
.
a group of actors are waiting around for a film to commence production in italy. the film is plagued with problems: a great deal of money was lost when one of its producers pulled out and still many of its resources have yet to arrive from germany, including the director. when he eventually does show up, his ego appears to be the biggest all, and he laments the fact that his actors do not understand his genius .
this autobiographical satire is one of the most probing and hilarious films about filmmaking, and a pivotal work in fassbinder' s career .
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the region 1 release of this film contains a remastered dolby digital 5. 1 soundtrack. i feel that a film of this type does not require a' bumped - up' audio transfer, because although the film does use songs in the soundtrack, the film relies mainly on it' s dialogue to convey it' s meaning .
chaz is the publisher of urltoken and a regular contributor to the site, writing about film, festivals, politics, and life itself .
margarethe von trotta (born 21 february 1942) is a german film director who has been referred to as a
leading force
of the new german cinema movement. von trotta boasts an impressive body of work that has won her awards all over the world in the last
a former union activist and veteran endorsed by bernie sanders has a chance to win the district represented for twenty years by paul ryan .
in rainer werner fassbinder’s brazen depiction of the alternating currents of lethargy and mayhem inherent in moviemaking, a film crew—played by, and not so loosely based on, his own frequent collaborators—deals with an aloof star (eddie constantine), an abusive director (lou castel), and a financially troubled production. inspired by the hellish process of making whity earlier the same year, this is a vicious look at behind - the - scenes dysfunction .
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. …
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has been released in region 1 in the united states with an upgraded dolby digital 5. 1 soundtrack, a filmography of the main actors and an essay by
the camera never moves during this speech, and there’s not a shred of plot to it. in fact, this character barely makes an impression through the rest of the film. this whole bit could seem like a lark - - in which fassbinder allowed his friend schroeter, whose work fassbinder admired, a few minutes of screen time to tell a story - - except for the fact that all of fassbinder’s recurring themes are present. friends and lovers in the film go and go as though everyone is acting, which, since they are making a film within the film, they are. characters step in and out of sexual identities as quickly as deiters’ characters do. relationships come and go, bringing with them unwanted entanglements, and taking with them individuals’ sense of identity. in one sense, the characters lounging around the film set are all cartoon characters who suffer abuse, then find someone else and rebound .
an image in a government briefing book helped a state department official see “the forest for the trees” in the west bank—and then was shared with the president .
wellspring, in cooperation with the rainer werner fassbinder foundation, has released a transfer with outstanding image and sound. the dvd was created from a new telecine transfer made under the supervision of the fasbinder foundation and filmmakers juliane lorenz and wim wenders .
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an interview with terry gilliam, director of
the man who killed don quixote .
je: inspired choice, scott. there' s scarcely any movement in the shot at all. as you say, schroeter hardly moves, and the camera is stationary. but there' s something going on here. that grating, whirring sound (how characteristically fassbinder to provoke and irritate the audience from the beginning) may be the amplified sound of film going through a camera. at any rate, because of the sound, and the lack of movement, you do become intensely aware that this is, as you note, a performance taking place in front of a camera - - in a film about filmmaking, where the actors are often arranged flatly across the frame, as though in a proscenium, before a stationary camera - - as in the famous final shot (a zoom; no camera move), which dissolves into the quote from thomas mann :
and i say to you that often i am weary to death of depicting human nature without partaking in human nature .
a devastating statement for an artist to make, but not an uncommon sensation - - particularly for a filmmaker as concerned with artifice and melodrama as fassbinder .
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doesn' t play edited portions of these songs, he uses the complete songs throughout the film .
all of that smashing points to some of the film' s darker recesses. yes, the shattered glasses joke is very funny, especially in its repetitiveness; it even works as a form of dramatic / comic punctuation throughout the entire picture. but it also indicates the range of frustrations which the characters feel. although two of the women crew members, early on, remark that
this place is crawling with gays ,
sexuality  and human interaction  takes on almost every conceivable form in this picture, as almost everyone tries to hook up with someone who does not want them .
the comedy runs the gamut from playful to horrific, often with a nod to earlier films. for instance, when jeff makes his long - awaited, and grand, entrance by helicopter, fassbinder reminds us of hitler' s arrival by air in triumph of the will, but with more than a dash of la dolce vita. examples of the film' s most trenchant laughs bring to mind such pitch black comedies about filmmaking as wilder' s sunset blvd. (1950), even as they look ahead to altman' s the player (1992). but this film is pure fassbinder .
this film once asked fassbinder  with his awareness of the complex nature of experience, whether in cinema or life, with its constant pull between the spiritual and the profane  if he can do better than jeff .
an arrogant fashion designer falls in love with an icy beauty who wants to be a model .
rainer werner fassbinder (31 may 1945 – 10 june 1982) was a german film director, screenwriter, and actor. he is one of the most important figures in the new german cinema. more »
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audiences are rejecting this summer’s procession of tired sequels, and international grosses won’t be enough to keep studios afloat forever .
world on a wire - u. s. trailer (rainer werner fassbinder, west germany 1973 )
matt zoller seitz is the editor - in - chief of rogerebert. com, tv critic for new york magazine, the creator of many video essays about film history and style, a finalist for the pulitzer prize in criticism, and the author of the wes anderson collection. his writing on film and tv has appeared in the new york times, salon, new york press, the star - ledger and dallas observer. (banner illustration by max dalton )
was a prolific director and writer who made over 40 films in 15 years. early in his career he would complete 4 to 5 films a year in order to attract government funding for his next project .
there is only one major film artefact present. this is a yellow line that appears across the image at
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, he treated with complete respect. interestingly, about 12 of the 25 acting parts are played by directors or future directors .
on a film set there are two things missing, the film material and the director. so the actors and actresses as well as the crew try to make the best out of the situation. when the director... see full summary »
janicza bravo is a writer and director based in los angeles. her feature film lemon is now playing in theaters .
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whity is the mulatto butler of the dysfunctional nicholson family in the south - west u. s. in 1878. the father, ben nicholson, has an attractive young wife, katherine, and two sons by a... see full summary »
himself in the film. this audio commentary is comprehensive. it is an invaluable insight into the history of the film, in relation to
on a film set there are two things missing, the film material and the director. so the actors and actresses as well as the crew try to make the best out of the situation. when the director arrives the material is still missing and so they still wait and try to make the best out of the situation. when the material finally arrives all folks involved into the film find themselves in a weird situation. jealousy, competition and despair are ruling. nobody seems to be able to break through this atmosphere, so they all still try to make the best out of the situation, but this is probably not the way to finish the film .
the film begins with the line:' hochmut kommt vor dem fall.' (
pride goeth before a fall
)
a look back at robert zemeckis' half - animated classic, who framed roger rabbit, on its 30 - year anniversary .
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jeff (lou castel), a director, and his star actor (eddie constantine) are taking their time getting to the set of the movie they' re currently working on. in the absence of these key figures, the film crew lacks a purposeful way to spend their time, so they drink heavily. however, as booze is downed and boredom and frustration set in, morale hits rock bottom. when jeff and the male lead finally show, the director is enraged by his crew' s slovenliness, and the production spirals into chaos .
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lou castel (born 28 may 1943) is a colombian - born italian actor known primarily for his work in italian films. more »
fassbinder ends his film on a subtle, visceral note. with the donizetti aria we heard before under irm' s departure, he gives us a slow zoom into jeff' s face, who repeats the same chilling line which ricky spoke, to himself, earlier :
i guess i won' t be content until i know that he' s been completely destroyed .
there is the profoundly contradictory jeff, with his iconically beautiful male face, and the corrosive rage from his dire lack of self - understanding. he is an artist in command of his medium... if not himself .
fassbinder goes still further, and gives irm (with her curly hair and red dress she ironically resembles plucky little orphan annie as much as irm hermann) one of the most poignant  albeit self - pitying  moments in the film when later he holds on her in a motorboat, moving ever farther away from the hotel  she is one of the few characters who ever gets out  while under he plays maria callas (i believe) singing a haunting, gorgeous donizetti aria. (it is worth nothing that there are some other significant
slaps
later on  one of which is directed at jeff; although i do not want to give them away here, i encourage you to consider their impact  pun intended  on the characters and themes. )
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 .
was asked to nominate his ten most favourite films (of his own work) in 1982, shortly before his death, he nominated this film as his favourite .
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the speech is a performance bit, yet another constant reminder from the brecht - disciple that all acting and moviemaking are all artificial representations of life, though they are every bit as important as reality. in one sense, this is fassbinder’s mirror film, where he shows us a film set and lets us see the folly behind the method. in another sense, he plays with the roles such that what we expect to see and what we see never converge; another actor plays the person we expect to be fassbinder, while fassbinder plays someone else. eddie constantine and hanna schygulla play versions of themselves, but the audience has to question whether they are playing the film “straight
or as we expect them to be, or the director’s version. what makes the scene particularly interesting – - and unsettling – - is that there’s a mechanical noise, like a car running, under the whole speech. it is too loud to be unintentional, but we never see nor are we told what it might be. it is as though fassbinder is cueing the audience in that what you see and what you hear are not necessarily in synch, that there’s always something just out of our comprehension in every single image and piece of dialogue .
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in the film. these are also diegetic references, i. e. they play from within sources in the film, in this case a jukebox. also ,
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fassbinder' s acute self - awareness also reflects the crucial theme of voyeurism in this film, and so many of his others, as well as in the experience of filmwatching itself. the key figure representing voyeurism is korbinian (played by ulli lommel). although married (we never see his wife), he pines over jeff like a lovesick schoolboy, saying ,
you can treat me however you like, because what you do as an artist has quality .
but jeff isn' t biting; he just says ,
piss off .
one of the most shocking scenes in the film comes during a lengthy conversation between korbinian and jeff, who has his back to him as he frantically types away, probably rewriting his screenplay. all this time, korbinian leans against the door with his hand down his pants, quietly stroking himself. (this scene takes on even more complex overtones when you recall that in fassbinder' s first film, love is colder than deat h, lommel played bruno, with whom franz walsch (fassbinder) was in love; and here lommel is the one hot for fassbinder, in his guise as jeff. )
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a man is released from prison and finds the society on the outside less than appealing. with several women as well as the police on his tail, he sets out to find an old friend .
fassbinder presents several character surprises, including the fact that the producer manfred is gay. after jeff tries, and fails, to make ricky jealous by flirting with women, manfred sees through ricky' s bravado (he tells people that he only sleeps with jeff
for the money
). the producer tells jeff ,
i was with a guy like that for two years. only later did i realize that he must have suffered like a stuck pig .
jeff shrugs ,
what' s that supposed to mean ?
unless we think that manfred is the film' s late - blooming source of wisdom, he later tells jeff  in a line which again connects the violence and sexuality themes  that
sometimes i could kill you. sometimes i could tear the clothes off you .
some people never learn... even if they are cartoon characters... .
was an idiosyncratic personality who died young (aged 37) and lived hard. in his native germany he courted controversy with his anti - establishment views, his liberal sexuality, his drug - taking and his treatment of people close to him. despite this ,
hanna schygulla (born 25 december 1943) is a german actress and chanson singer. long associated with the theater and film director rainer werner fassbinder, for whom schygulla first worked in 1965, she is generally considered the most prominent german
unusual gangster story, in which a small - time pimp franz, who is torn between his mistress and bruno the gangster sent after him by the syndicate that he has refused to join. things are... see full summary »
ulli lommel (born 21 december 1944) is a german actor and director, noted for his many collaborations with rainer werner fassbinder and his association with the new german cinema movement. lommel is also well known for the time which he spent at the
in striking contrast, the central character is intensely problematical; in fact, jeff encapsulates the film' s fundamental concerns and dilemmas. on the one hand, his love and understanding of filmmaking is clear, even in his petulance. he even seems to have come to some degree of self - understanding, as when he tells the long - suffering sascha ,
you know what the worst thing is? when one realizes how damn brougeois one is oneself .
but that is not enough to free him from the twisted, self - destruction path we see him following throughout the film .
named after the david cronenberg film, this is the blog of former urltoken editor jim emerson, where he has chronicled his enthusiasms and indulged his whims since 2005. favorite subjects include evidence - based movie criticism, cinematic form and style, comedy, logical reasoning, language, journalism, technology, epistemology and fun. no topic is off - limits, but critical thinking is required .
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1971 — 103 minutes, color, aspect ratio 1. 33: 1 — comedy / drama
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frau kusters is preparing dinner late one seemingly ordinary afternoon in her seemingly ordinary kitchen in frankfurt, germany. mrs. kusters wants to add canned sausages to the stew, her... see full summary »
from the beginning, it was clear that rainer werner fassbinder was destined to shake up german cinema .
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i don' t just want you to love me - r. w. fassbinder
3 things you' ll get from... films by rainer werner fassbinder | tiff
rainer werner fassbinder’s opus debuts in america at an imperiled time to remind audiences what real political filmmaking is .
interview: jodie foster on hotel artemis, directing vs. acting, & more
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final shot :
he has rediscovered something that has been forgotten. time .
final shot :
i guess i won' t be content until i know he' s been completely destroyed .
audio commentary - by dr. adrian martin, senior research fellow, monash uni. booklet - 16 page insert essay by justin vicari short film - city tramp (9: 22 - black & white) short film - the little chaos (11: 27 - black & white) trailer - directors suite trailers
german dolby digital 2. 0 (224kb / s) english audio commentary dolby digital 2. 0 (224kb / s )
tongue - in - cheek humour that is manifest in this film. interestingly, when
the aspect ratio is full frame 1: 33: 1. obviously, it is not 16x9 enhanced for widescreen televisions .
there are two audio tracks. one is in german and the other is the english audio commentary track. both are dolby digital 2. 0 mono tracks encoded at 224 kbps .
audio commentary by dr. adrian martin, senior research fellow, film and television studies, monash university
for madman' s directors suite label. the commentary is engaging and on - going, there are virtually no pauses .
anti - establishment theatre group and how it influenced this film. the booklet, including photos, is sixteen pages in length .
and it was made in 1967. it is an ode to american gangster films and it also stars
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this is another excellent release by directors suite, replete with many quality extras. although fassbinder considered it to be his best cinematic work, it' s more personal than his later more recognised films such as ali: fear eats the soul
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35mm transferred to dcp, 1. 85: 1, colour (eastmancolor), mono, 103 minutes, west germany / italy, german / english / french / spanish (english subtitles) / director / script: rainer werner fassbinder / cinematographer: michael ballhaus / editors: thea eymèsz, rainer werner fassbinder (as franz walsch) / production designer: kurt raab / music: peer raben / cast: lou castel, eddie constantine, margarethe von trotta, rainer werner fassbinder / production co: antiteater - x - film, munich / print source / rights: rainer werner fassbinder foundation
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ozon' s provocative film can do much to improve attitudes towards lgbti people .
eddie constantine (born edward constantinowsky; october 29, 1917 – february 25, 1993) was an american french actor and singer who spent his career working in europe. more »
marcella michelangeli (born 28 january 1943) is an italian former actress and singer. more »
beware of a holy whore ( german : warnung vor einer heiligen nutte ) is a 1971 west german drama film written and directed by rainer werner fassbinder that features lou castel , eddie constantine , hanna schygulla and fassbinder himself . holed up in a hotel with too much drink , drugs and time the cast and crew of a film are gradually disintegrating as they await the arrival of their director . semi-autobiographical , the film was influenced by the shooting of the director 's earlier whity in spain . the film features music from leonard cohen 's first album songs of leonard cohen and from spooky two by spooky tooth , among others . 
beware of a holy whore (german: warnung vor einer heiligen nutte) is a 1971 west german drama film written and directed by rainer werner fassbinder that features lou castel, eddie constantine, hanna schygulla and fassbinder himself. holed up in a hotel with too much drink, drugs and time the cast and crew of a film are gradually disintegrating as they await the arrival of their director. semi-autobiographical, the film was influenced by the shooting of the director's earlier whity in spain. the film features music from leonard cohen's first album songs of leonard cohen and from spooky two by spooky tooth, among others.
beware of a holy whore (german: warnung vor einer heiligen nutte) is a 1971 west german drama film written and directed by rainer werner fassbinder that features lou castel, eddie constantine, hanna schygulla and fassbinder himself. holed up in a hotel with too much drink, drugs and time the cast and crew of a film are gradually disintegrating as they await the arrival of their director. semi-autobiographical, the film was influenced by the shooting of the director's earlier whity in spain. the film features music from leonard cohen's first album songs of leonard cohen and from spooky two by spooky tooth, among others.