While working in a lower key than his more groundbreaking television productions, Fassbinder's personal semi-autobiographical social-realist parable about a young man's desperate attempt to buy love & acceptance (compelling him towards self-destruction) is quietly audacious. The narrative as confessional, with its complex memory within memory structure, is still way ahead of what most TV auteurs are attempting today.
Peter a qui personne n'a jamais réellement témoigné d'affection, essaie d'acheter l'attention et l'amour de son entourage. Il construit une maison pour ses parents, gâte sa femme et l'installe dans leur appartement. Il a bien du mal à payer ses traites et, une fois licencié, il tue apparemment sans raison le propriétaire d'un bar qui ressemble à son père... Fassbinder et la haine de la famille www.cinefiches.com
Death on the installment plan. Zeplichal bears an uncanny resemblance, unless I'm imagining things, to the young RWF, and despite the radically different milieus of film and construction (perhaps not so radically different after all) it's easy to discern sympathetic parallels between the director and his protagonist, each as diligent as he is profligate, as talented as he is doomed, and as lost as he is in love
Melodrama of the castrated lumpenproletariat, the violent refusal of domination by the arbitrary destruction of expectation and usefulness; Fassbinder's scrupulous organization of what remains of an individual once their potential has been lost in the fractures of Lacanian and Marxist power structures. There is interest even on the cost of self-preservation.
Strange that this one is not on DVD yet. It may not be really representative of his often much more provocative cinema, but it dates better than most of his movies. The political context is mostly put aside and the story is a timeless middle class portrait. Fassbinder is really clever at identifying social details and main interests of middle class people, that soon take over, leaving them with nothing to live.