Almost unfathomable for me to wrap my head around this from one viewing. A transgressive adaptation which rather skilfully constructs a queer fever dream, playfully depicting even the homophobic as symbols of homoerotic repression. Remarkable aesthetics and sets, only bogged down by the density of RWF's eliciting of the literary in what should remain cinematic. That and a lack of clarity in plot and characters.
Eclectic and plethoric but definitely a worth-see. What I loved in this film is its idiosyncratic cartoon-like and quasi theatrical aesthetics: the plot often oscillates from drama to narration to text to photography. Queer/gay/cabaret aesthetics are also very distinctive but play a second-fiddle role here IMO.
"Querelle had entered into a kind of unspoken pact with the Devil. He had not written over either his body or his soul, but rather something which is just as valuable: a friend. And the death of this friend would sanctify his crime. It is our task to express the universal quality of a specific phenomenon. We are no longer concerned with a work of art – for a work of art is free."
Could have been made for TV, shot in the most brilliant synthetic of fire and ice, a theatrical inundation. Indeed a sadomasochistic endeavor, and a literal jump in the pond for RWF, the sinking. Now please make a proper transfer of "Women in New York," okay? We deserve it. Come on, sailor, touch it.
In una Brest posticcia (tutto girato in un meraviglioso teatro di posa) si narra la discesa negli Inferi di Querelle,marinaio vittima delle attenzioni del suo capitano e di tutti gli uomini che fanno parte della sua vita;è un uomo inquieto,incapace di amare,succube di un tormentato rapporto di amore ed odio con il fratello.Forse troppo difficile,ma sicuramente tagliente,crudo e poetico.Estetica e fotografia da urlo.
I find it rather suiting that fassbinder ended his career with a movie where the main character is striving for his identity and struggles with emotional strength. It just feels like the right note to end on. Be it that the note is a very erotically surreal note. The only thing that stops me from loving it is the inauthenticity of the dialogue and the lackluster lead performance.
Dedicated to the recently deceased El Hedi ben Salem, his former lover and star of his greatest masterpiece Ali: Fear Eats The Soul, Fassbinder's final film before his own premature death is a luridly experimental adaptation of Genet's novel about the adventures of a sailor turned smuggler and murderer. Visually impressive and wildly over the top, Herr Fassbinder ended his career with a unique and dreamlike oddity...