Whether or not Rainer Fassbinder was the most talented of the wave of West German directors who emerged during the 1970s, he was certainly the most prolific, protean and elusive. His first feature, Love is Colder than Death was released in 1969. Incredibly, the films discussed below, Fox and His Friends (1974) and Mother Kusters Goes to Heaven (1975) were his 22nd and 23rd feature-length works; by the time he died in 1982 he had completed 14 more including the 16-hour television series that was his magnum (and grand) opus Berlin Alexanderplatz .
Fassbinder worked with frenzied urgency, pushing toward, and almost thriving on, excess—of stylization, melodrama, visual expressiveness, compositional precision, and pretty much everything else that defines the limits of film as a dramatic and expressive medium. His work could be wildly uneven and occasionally overwrought, clinically dissecting characters with the detached cruelty of a child pulling the wings off of flies. But it was seldom dull or pedestrian, and he seemed congenitally incapable of anything perfunctory or unengaged. Add in a personal life reportedly consisting of relationships that were a vipers’ pit of duplicity, jealousy and manipulation and a lifestyle Dionysian enough to give mere degeneracy a good name: he famously dismissed concerns that cocaine might ruin his health with the glib assertion “in Hollywood I can get a Teflon nose.” It’s enough to make you wonder how he got anything done, much less became one of the most productive film directors in history. (Of course, he did die at 37—well past his “sell by” date physically but not artistically: his penultimate film, Veronika Voss , was among his best). He only dialed back his lifestyle—reportedly even abstaining from white powdery substances—and fully devoted himself to his craft once, for the year he spent laboriously realizing his dream project, a film adaptation of a novel he revered, Alfred Doblin’s Berlin Alexanderplatz. The resulting masterpiece runs 16 hours, enough screen time to imbue the characters and their milieus with a richness and depth not always evident in his other work. Sarris blurbed it “an Everest of modern cinema.” Its fullness suggests that the fierce urgency of the broad strokes he used to craft his other work may have sacrificed complexity and resonance for force and clarity.