65/100 (Yönetmenimizin Ali, Petra von Kant filmlerini ve Lgbt filmlerinin genelini çok seven biri olarak bu filmi yeterince etkili bulmamanın sebebini kendimde değil malesef Fassbinder'de aramak zorundayım. İnanılmaz bir görüntü yönetimi ve son 15 dakikası olmasa oldukça kötü puan verebilirdim. Saçmalıkları, kendi içinde tekrara düşmeleri, her karakterin anlamsız şiirselliği beni yıldırdı. Devamı yorumda...)
Maybe a bit too much a personal film project by Fassbinder for me to enjoy - and I almost didn't get through the film either as there was a slaughter house sequence that was more gory and disgusting than any horror movie I have ever seen in my life. Even so, Volker Spengler do a powerful performance that is hard to forget.
This film lies apart from Fassbinder's short yet profound filmography. I find myself conflicted over the (un-?)weird progression of scenes after scenes, of voices after voices. The feelings left behind are unreal, yet in this particular case, negation revives the life and adds a meaning to reality, especially one in the realm of emotions, of senses, of a touch on mentality.
What [does] difference make, and what difference does it make? Visions from G*d, failed romances, wisdom from the elderly were past catalyzers of major life changes, from investments, to songs, to poetry. Can we not say that offhanded comment from a loved one may alter our life when we least expect it? Today: more accurate compasses and surface area to heap upon a wound. Main slice: Elvira’s Slaughterhouse monologue
Beautiful film by Fassbinder, although not his best. It is a theatrical and long-winded melodrama, where the tragic (but delicate) figure of Elvira is "rebounded" from one character to another, without anyone (including her) being able to really understand her malaise.