Right of thumb of freedom

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Movie
Original title Right of thumb of freedom
Country of production Federal Republic of Germany
original language German
Publishing year 1975
length 123 minutes
Age rating FSK from 16
Rod
Director Rainer Werner Fassbinder
script Rainer Werner Fassbinder
production Rainer Werner Fassbinder
music Peer ravens
camera Michael Ballhaus
cut Thea Eymèsz
occupation

Faustrecht der Freiheit is a film drama by Rainer Werner Fassbinder from 1975. The film bears the dedication For Armin and all others .

action

The showman Franz Bieberkopf appears under the stage name Fox, the sounding head on fairgrounds. After his employer and partner Klaus is arrested, he is unemployed, burned down and alone. At least he can find accommodation in Munich with his older sister Hedwig, an aging prostitute who is also alone and addicted to alcohol. However, Franz firmly believes in winning the lottery one day. One Friday he gets in a flap Max know, a wealthy antiques dealer, steals a florist the necessary 10 marks for the stake, are at the last minute from the appearance and actually wins 500,000 marks the lottery. Franz is now becoming more interesting for Max's rather arrogant friends, especially the entrepreneur's son Eugen.

Eugen, whose family business is about to go bankrupt, sees his chance. He gets involved with the proletarian Franz, separates from his previous friend, the boutique owner Philipp, and persuades Franz to support his father's bookbinding and printing works financially. Franz also pays for the shared apartment and a vacation in Morocco (which is more of a relationship quarrel than relaxation). Eugen tries himself as a teacher to teach Franz the behavior and lifestyle of upper classes. However, there are always minor and major frictions and crises, be it because of table manners, the relationship with Eugen's parents or many other little things. The housewarming party finally bursts when Franz's seriously drunk sister Hedwig insults the assembled group of mainly homosexual men. With more and more new means, Eugen succeeds in taking advantage of his good faith friend. Franz works as an unskilled worker in the company, for a monthly wage of 5,000 DM, the repayment of his loan. One day, through Franz's fault, a loss of over 100,000 marks occurs when committee brochures are produced. Finally, Franz Eugen pro forma overwrites the condominium in order to offer the bank security for the Thiess company, which is now in great danger. When Eugen finally separated from Franz - who already suspected that he was only using him and never really took him for granted - he lost almost everything, even the apartment is no longer in his possession; Philip now lives there. In his old local pub he suffers a fit of weakness; Franz's acquaintances see their skepticism confirmed that he even started anything with the pissed off young entrepreneur Eugen. Franz barely gets eight thousand marks from a used car dealer for the recently acquired sports car.

So the completely desperate Franz commits suicide in the deserted subway station Marienplatz with an overdose of Valium (which the doctor had prescribed for him because of heart pain). Two teenagers find him. They bat his corpse, take the few thousand marks and even Franz's denim jacket with them. Max and Klaus, who happened to drop by (the antique dealer and the petty criminal had come into contact on business at the party in the apartment) and discover the body, quickly moved on so as not to get involved in the matter.

background

The film premiered on May 30, 1975 at the Cannes International Film Festival and was released in West German cinemas on June 6. The budget for the film was 450,000 German marks. The film was shot on 21 days in April and June 1974 in Munich and Marrakech .

The name Franz Bieberkopf comes from Alfred Döblin's novel Berlin Alexanderplatz (there, however, in the spelling Biberkopf ), which Fassbinder filmed in 1980 (see Berlin Alexanderplatz (TV adaptation) ).

Peter Chatel commented on his and Fassbinder's role in Faustrecht der Freiheit: “The curious thing is that the character I play is he, the person who exploits. What he plays is what he would have liked to be, the tender, sensitive child of the proletariat, which he wasn't. "

Reviews

  • Lexicon of international films : “A story set in the homosexual milieu about the exploitation of feelings, vacillating between melodrama and ironic dialectics. At the same time, a very personal search for a location by Rainer Werner Fassbinder and, in a certain sense, an addition and counterpart to the cool, distant Effi Briest who had just emerged . "
  • Frankfurter Allgemeine Zeitung : “A male version of the Petra von Kant story. The law of liberty is shot in a straightforward, striking style. A new reality emerges from its exaggerated contrasts, which amazes. The film derives its strongest effects from this Franz Biberkopf Fassbinderian character, who shakes in the silent moments of the second part. "
  • Ulrich Behrens in the filmzentrale: "[The film is] an otherwise rarely seen criticism of the mechanisms of our society, deep down to the details of the emotional and economic exploitation, the exploitation of feelings as well as the consolidation of existing structures - and although melodramatic, yet never maudlin. 'Freedom of Fist Law' is perhaps Fassbinder's most dramatic film in the sense that it goes to the limits of what is bearable and thus to the last corner of reality. "
  • For Hans Scheugl , the film was “not really satisfactory” , the plot was not really convincing, especially the characters in the act were too woodcut: “Franz is too much of a dumb fool, and the people he has to deal with are even closed unilaterally angry. It is not entirely clear what Fassbinder with the film really wanted. " His talent for " observation smallest details " come " in the stylized artificiality of, Bitter Tears 'to better advantage than in the naturalistic context of, My Darling'. "

literature

  • Peter Iden et al .: Rainer Werner Fassbinder. Hanser, Munich 1983 (4th, extended and extended edition), ISBN 3-446-13779-3
  • Kurt Raab / Karsten Peters: The longing of Rainer Werner Fassbinder. Goldmann, Munich 1983, ISBN 3-442-06642-5
  • Hans Scheugl: Sexuality and Neurosis in Film. The cinema myths from Griffith to Warhol. Heyne, Munich 1978, ISBN 3-453-00899-5
  • Michael Töteberg: Rainer Werner Fassbinder. Rowohlt, Reinbek 2002, ISBN 3-499-50458-8

Theater adaptations

Web links

Individual evidence

  1. ↑ Hans Helmut Prinzler, data, in: Peter Iden et al .: Rainer Werner Fassbinder. Hanser, Munich 1983 (4th, extended and extended edition), ISBN 3-446-13779-3 , p. 287.
  2. ↑ Peter Chatel in an interview with Kurt Raab, based on: Kurt Raab / Karsten Peters: Die Sehnsucht des Rainer Werner Fassbinder. Goldmann, Munich 1983, ISBN 3-442-06642-5 , p. 291 f.
  3. ↑ Hans Scheugl: Sexuality and Neurosis in Film. The cinema myths from Griffith to Warhol. Heyne, Munich 1978, ISBN 3-453-00899-5 , p. 209.
  4. ↑ Press release on the law of freedom of freedom (play) ( Memento from October 21, 2012 in the Internet Archive ) at FassbinderFoundation.de , accessed: January 31, 2013
  5. ↑ Faustrecht der Freiheit (play) ( Memento from February 2, 2013 in the Internet Archive ) at FWT-Koeln.de , accessed: January 31, 2013