Three Munich cops have hired the professional killer and Vietnam veteran Ricky (Karl Scheydt). He is supposed to kill people they cannot kill as “guardians of the law”. Before taking care of his task, Ricky meets his old friend Franz (Fassbinder). Ricky’s first victim is a gypsy, the second is a girl who deals with porn magazines and sells information. Since her boyfriend is present, Ricky kills him, too. When Ricky requests a girl in the hotel, his clients send him Rosa (Elga Sorbas), a lover of one of the cops’. She falls in love with Ricky. After a brief visit with his mother and brother, Ricky receives his last job. He is to kill Rosa. He does it without hesitation. The showdown takes place at the main station. Distracted by the arrival of Ricky’s mother and brother, Rick and Franz are shot by the police. —Rainer Werner Fassbinder Foundation
Rainer Werner Fassbinder (May 31, 1945 – June 10, 1982) was born into a cultured bourgeois family in the small Bavarian spa town Bad Wörishofen. Raised by his mother as an only child, the boy had only sporadic contact with his father, a doctor, after the divorce of his parents when he was five. Educated at a Rudolf Steiner elementary school and subsequently in Munich and Augsburg, the city of Bert Brecht, he left school before passing any final examinations. A cinema addict (“five times a week, often three films a day”) from a very early age, not least because his mother needed peace and quiet for her work as a translator, “the cinema was the family life I never had at home.”
Fassbinder made his first short films at the age of twenty, persuading a male lover to finance them in exchange for leading roles. He also applied for a place at the Berlin Film School (dffb), but was refused. He acted in both his early films: DER STADTSTREICHER (The City Tramp), which also featured Irm… read more
Fassbinder's revisionist film noir is an homage to gangster movies and is both playful and disturbing in equal measure. Completing a loose trilogy that includes Love Is Colder Than Death and Gods Of The Plague, the film was shot on a limited budget but still manages to contain some haunting black and white images. This intriguing early work by a great director is an ideal companion piece to Melville's Le Samourai....
for sure, you can see a kernel of lynch and jarmusch slowly beginning to take shape. orson welles' visual leanings in touch of evil are developed into a style. unfortunately the script is just a collection of one liners that have no real cohesive impact. i felt a great lack of humanity here, especially when compared to jarmusch.