Gods of the Plague is larger though. Its blocking is more elaborate. The camera is freer. Its screenplay more fluid. None of this detracts from the feeling of continuity, merely adds a sense of progression to Fassbinder's cinematic language - one rapidly developed, all things considered.
I was far more involved in this follow-up. Something about Harry Baer's ennui and the repetitive tensions set up as he searches for "the Gorilla" (a very young, very hot, Günther Kaufmann). Dibber dobber Schygulla is at it again (and at it radiantly), as are many of the regulars. This is the first time for Fassbinder's mother though. Lilo Pempeit takes on the role of Mutter. Apparently, because of his insane workload, Fassbinder would cast her just so he could have a relationship with her. Sweet but obsessive.
I was also struck with the foregrounding of homoeroticism here. Till now I've always thought that Fassbinder didn't get explicit with his homo undertones until he pulled back the sheets on Fox and His Friends. Here, at a game of roulette early in the film there's some very obvious queering, and that's not to mention the definite(ly hot) frisson between Baer's Franz and the Gorilla (something many put out to be a reflection of Fassbinder's own desire for Kaufmann).
I like that extra layer of eroticism that all this brings, especially when Fassbinder's eye is still as cold as can be. There's a glint here, though, of the warming humanity to come. Just a hint.
Next up: The American Soldier...
This post contributes to Director Focus: Rainer Werner Fassbinder II.
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