Focus on R.W. FASSBINDER II: The Niklashausen Journey (1970)

So, it appears that even though Fassbinder moved on from his nouvelle vague inflected gangster films, he wasn’t quite so ready to drop the overall aesthetic. The Niklashausen Journey still feels indebted to the French, specifically Godard, with a little Ken Russell thrown in for good measure. And it is all still a bit of a jumble - an overtly political jumble.

Fassbinder himself appears (again), this time as a behind the scenes firebrand. He’s labelled ‘the Black Monk’, and he stokes political discontent in an anachronistic German nether-region somewhere between the ‘70s and feudal times. He wears a black leather jacket and tight jeans. Others are dressed in slap-dash period costumes. It all sits with the idea that social overthrow can be effected through rousing the masses with overt theatricality.

The Black Monk employs a Christ like prophet who puts about that he’s in communication with the Virgin Mary. When that doesn’t cut the mustard, they rope in a friend to play Mary. And there’s a crucifixion. There’s also a fascist massacre. And a whole lot of loud, manifesto-pronouncing diatribe.

I guess this early in his career, Fassbinder hadn’t quite reconciled the dryness of his politics with the medium’s hunger for entertainment value, even on the small screen. There’s not quite enough satirical edge to this and without any discernible humour it is hard not to feel set upon. That may have been the intent, though I fear not.

In any event, Fassbinder soon learnt to dress his political theorising in its own (more humorous) coat of black. See The Third Generation, Mother Küsters Goes to Heaven and even to a degree Fox and His Friends for decent examples. Here, with little aside from the angry screed to maintain focus, all he really proves is communism is desperately unrelenting.

Next up: Rio Das Mortes...

This post contributes to Director Focus: Rainer Werner Fassbinder II.