Screening Log
This new site feature is a collective effort to summarize our viewing habits. Occasionally, you will find titles here that are coming to a theater near you, in addition to films viewed on television, and even films viewed in piecemeal. The screening log is archived each month; to view past entries select a month in the menu below.
March 2008 activity
Total Log Entries: 17
- Adam (2)
- Chet (0)
- Chiranjit (1)
- Cullen (0)
- David (3)
- Eva (0)
- Evan (3)
- Ian (0)
- Jenny (0)
- Katherine (0)
- Leo (1)
- Megan (2)
- Rumsey (1)
- Teddy (0)
- Thomas (3)
- Victoria (1)
Total Comments: 5
- Snow Angels (0)
- The Wrong Man (0)
- Notorious (0)
- Shriek of the Mutilated (0)
- The Most Dangerous Game (0)
- Escape 2000 (2)
- Superchick (0)
- Absolute Wilson (0)
- Troll (0)
- Berlin Alexanderplatz (2)
- The Invasion (0)
- Evening (1)
- Berlin Alexanderplatz (0)
- Atlantis Interceptors (0)
- Stryker (0)
- Women’s Camp 119 (0)
- Blood & Chocolate (0)
Full Archive
Berlin Alexanderplatz / Chapter 1: The Punishment Begins / Germany / 1980
The first part (cheerfully titled “The Punishment Begins”) of Rainer Werner Fassbinder’s 15-hour made-for-TV magnum opus covers more emotional ground than most feature films do in their entire running time: it takes its protagonist, Franz Biberkopf, from a state of crippling depression following his release from a four-year prison sentence to a state of manic glee, back on top of the tiny section of the Berlin underworld he calls home. Gunter Lamprecht’s lead performance as Franz is impressively repulsive and yet heartbreakingly vulnerable at the same time, which is exactly what’s needed to carry off the despicable things Fassbinder makes him do. The fact that, having watched him rape one woman and beat another to death, I still care about what might happen to Franz in future installments is a testament to the insinuating emotional power of Lamprecht’s presence.
The other standout performance here, of course, is Fassbinder himself, not as actor but as director; though the film was made for the small screen, it’s among the most cinematically persuasive things he ever did. In it he exhibits all the hallmarks of his late style, making judicious use of ironic intertitles, gauzy light effects, multilayered music, campy melodrama, vicious cruelty, and fluid telephoto lens-aided camerawork. I haven’t quite sorted out all the elements in play yet, and I sort of doubt the film can keep up the same level of invention and provocation throughout without becoming completely exhausting. But I am certainly moved to, as they say, tune in next week.
by Evan Kindley | Source: Criterion Collection DVD
04 Mar 2008 10:43 PM | Submit Comment
