A family affair from one of Fassbinder's usual players, in a film made with many of Fassbinder actors, including himself, with a similar language: the dryness of a representation that is colder than death, more raw than logic and, above all, more inconceivable than any naturalism could allow. An ironic representation of cruelty, where Bach, like in Bresson, purifies one vision of a private hell.
Uli Lommel directs an eerily detached film about the German serial Killer Fritz Haarmann, who has provided the inspiration for a number of films, from M to THE CHANGELING. Kurt Raab is freakishly good in the lead role, a mixture of menace, smarm and off-putting moralism. The whole film is art-directed to hell and benefits from the presence of most of Fassbinder's inner circle.
Even if Fassbinder is only the producer here, it tends to look like one of his films with his usual actors...Kurt Raab is perfect in this nasty and disgusting role (based on the real story of a German serial killer Friz Harmann). Not for everyone but an intense and lugubruous drama.