Very cute opening titles. The rest is a bit of a bore! Michael König definitely should've resurfaced in the director's troupe. He was almost more resplendent than Hanna. Young Günther Kaufmann is a plus, but the story is pointless and doesn't actually ruminate a theme Fassbinder considers more heartily elsewhere. Static editing like Gods of the Plague. The last shot may be the birth of Maria Braun.
Michel et Gunther sont las de leur quotidien sans grande ouverture. C'est ainsi qu'ils décident d'organiser un voyage au Pérou, car ils possèdent une carte indiquant l'emplacement d'un trésor près du Rio das Mortes. Reste à trouver l'argent nécessaire pour leur expédition, et à convaincre Hanna, la fiancée de Michel.... et le spectateur ! www.cinefiches.com
Fassbinder does "simple"; a buddy/road comedy, infused with the usual longings for some "other" and its promise of "freedom". Except our inept male protagonists embody - often hilariously - the very limits they're striving to overcome, and the far-more-competent, apparently secondary, women (who seem to dominate the film) are mired in their own self-defeating patriarchal narratives. Funny, right? Comedy à la RWF. 3.5
A rather exquisite observation of the vagueness & inconstancy of ethics & resolution in post-WWII Germany. As in Borzage's cinema, Fassbinder's characters are always gazing outward at some unknown area, seized by the strangeness & allure of their own notions & impressions of 'freedom,' a complex concept in RWF. Political anger has transformed into something more tender & despondent. Schygulla's lipstick is glorious.
Fassbinder's "buddy" film? The key may be in the line of dialogue stating that women's repression is present in their behavior, but if Hanna's exclusion from the homoerotic male dyad is the core of the film, it remains unrealized until the final minutes. Light variations of motifs from the Franz Walsh trilogy. The dance between Hanna and Rainer is memorable, moving that it's Schygulla's favorite memory of him.