Rainer Werner Fassbinder plays Franz Bieberkopf, aka Fox. A man who lacks direction, ambition, and frankly smarts. A working class man, eking out a living working as a circus attraction. Luck intervenes, handing Fox a winning lottery ticket, the money freeing him from the drudgery of his life. As he climbs the rungs of society, he is noticed by Eugen (Peter Chatel) and his cohorts, finding Fox to be something of a crass enigma, but also easily manipulated. Fox mistakes their false kindness for genuine friendship and in one case, true affection, unaware that despite appearing to help him adapt to a new lifestyle, these bourgeois are working to swindle him out of his money.
Fassbinder, serving as star, writer, and director, has constructed a film that treads a fine balancing act between making statements about class structure, and the intensely personal tale of a man who just wants to be loved. Fox is a man oblivious to many things, a child-like soul, given to infantile behavior on occasion, imparting a susceptibility to those driven by materialism, greed, and good old fashioned snobbery. It’s a rather miserable journey for this protagonist, false and fleeting happiness slipping through his fingers, despite initial belief that this good fortune, by way of a lottery win, is destined to change his life for the better. That’s the real revelation of the film, its depiction of how this cash brings out the worst in those around Fox, and draws exploitative types to him, but also serves to exacerbate his own flaws. This is interwoven with his genuine pursuit of love and acceptance makes for a more poignant factor in the tale, to burnish off the condemnation you’d otherwise feel for such an oblivious chump.
The emphasis on class is at the core of the film. Even its original German title Faustrecht der Freiheit translates as Right Fist of Freedom, conjuring socialist ideals, a call to arms in the face of the capitalism and greed on display. Coupled to the exploitation of the protagonist, there’s even a Darwinesque component. Survival of the fittest not simply down to physical attributes, but an ability to adapt. Fox, shifted to a different class level with his newly acquired wealth is ill equipped to survive, let alone thrive. Equally, these nefarious types who exploit him, swoop in like vultures around their prey. Fox’s path to destruction feels set from the start of the film. His life unraveling, getting mired deeper and deeper, never learning. It’s akin to one of Aesop’s fables at times, a lesson in what not to do under similar circumstances. This advisory feel, tempers what could have been a far bleaker effort.
In researching the film, it’s apparent that some interpret its depiction of homosexuals in a rather negative light. It’s one understandable point of view. But despite a somewhat coarse depiction of the gay scene during this era in Germany, the film largely scrutinizes the behavior and morals of its subjects in terms of money and class rather than their sexual preference. Fassbinder’s work can often lack subtlety, such is the case here, but his biting take on class warfare works better with a punch. Scrutinizing differences between social status, the price people pay to achieve luxury. In the middle of this is a somewhat sympathetic individual. A simple man but depicted as having many layers. It’s a smartly scripted role and one played admirably by Fassbinder himself. With the man also directing, producing and co-writing the screenplay, it imbues the production with a very personal feel, drawing you into not just Fox’s world, but the culture of 1970s Germany.
THE PACKAGE
This Criterion release presents a newly restored, 4K transfer of the film, undertaken by the Rainer Werner Fassbinder Foundation. The result is a rich presentation, bright and detailed, deep blacks, good contrast and no noticeable artifacts. It’s a transfer that showcases the rich production design on display, a facet of the film that tempers the grit of 70s Germany. Special features include:
- New interview with actor Harry Baer: A nearly 20 minute feature and Criterion exclusive. A personal insight into how Fassbinder works on set, his approach and other interesting details from his numerous collaborations with the director.
- New interview with filmmaker Ira Sachs: who reflects on Fassbinder’s output and impact.
- Excerpt from a 1975 interview with director Rainer Werner Fassbinder: an interesting addition where Fassbinder discusses his intentions to pass commentary on class and homosexuality in German society with the film as well as his motivations to play the lead himself.
- Excerpts from a 1981 interview with composer Peer Raben: From a TV show, it briefly touches on Fassbinder’s influence on German cinema, as well as the collaborations between Raben and the director. There’s also amusing insight into the musical styles that informed the compositions used in Fox and His Friends.
- Trailer: Self explanatory that one.
- The package includes a Booklet, detailing the restoration of the film as well as including an essay by film critic Michael Koresky about the various themes the film tackles and its persistence in terms of relevance today.
THE BOTTOM LINE
Fox and His Friends offers up a strong social commentary married to a emotional tale. One that treads a fine line between crafting sympathy and condemnation of its lead, as his naivety leads to his own downfall. Wealth and noble intentions mean little without intelligence to resist those who would exploit you. A bleak, relentless damnation of greed, Criterion delivers a vibrant restoration of a film that has lost little impact since its original release.
Fox and His Friends is available from Criterion on Jan 17th, 2017.
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