Wikipedia - User contributions [en]

Talk:Edward Bond

2024-03-05T18:48:43Z

Invulgo: /* "lower-working-class" */ new section

{{WikiProject banner shell|class=Start|living=no|listas=Bond, Edward|1=
{{WikiProject Biography|a&e-priority=Low|a&e-work-group=yes}}
{{WikiProject Theatre|importance=mid}}
{{WikiProject England|importance=Low}}
| blp=no
}}

== Suspected copyvio ==
The section on ''Saved'' and his next play bear a striking similarity to this website:
http://www.amrep.org/articles/3_3a/morality.html
I don't have time to pursue this further tonight, but could someone look into this? I will watch the pages as well. Thanks! [[User:Bruxism|Bruxism]] 06:02, 12 February 2007 (UTC)
:I've recast the para on Saved to avoid the copyright violation, and added some references. Full referencing of the article would aid the avoidance of copyviol, and also improve the article.
:At the same time I added some references to performance, the play following was in the Cottisloe, again a smaller performance space. It might be appropriate to make the observation that Bond went from 'big' opera to plays performed in smaller spaces - but I'm trying to avoid ''original research'' - something to think about. [[User:Kbthompson|Kbthompson]] 10:05, 23 May 2007 (UTC)

== Tone ==

This article was clearly written by someone who ADORES Bond and is very frustrated that he isn't universally famous. That's not really the right approach to an encyclopedia article... -[[User:67.85.180.72|67.85.180.72]] 15:47, 2 September 2007 (UTC)

I've just taken a glance over this and can't see any explicit lack of neutrality. The choice of word "fecund" to describe a working relationship is ripe but not inappropriate, for example. And Bond ''is'' famous, at least in the English-speaking world, and a fair amount beyond that. Could you be more specific about what it is and where precisely you find this problem? [[User:DionysosProteus|DionysosProteus]] 18:29, 2 September 2007 (UTC)

I think that for instance, the abundance of adjectives and adverbs in the last paragraph is a bit of an overkill: 
Bond remains a ''colossal'' figure in contemporary drama.[citation needed] He is ''hugely respected'' (what is this supposed to mean?) and popular in mainland Europe; but has been ''largely ignored'' or ''neglected'' by producing venues in his homeland. 
This is indeed not proper for an encyclopedia article. —Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[Special:Contributions/206.126.90.100|206.126.90.100]] ([[User talk:206.126.90.100|talk]]) 03:39, 13 December 2007 (UTC) 
 I edited the article to bring the tone down a notch whilst preserving the basic intent of the original writers.[[User:MrBrueghel|MrBrueghel]] 02:12, 2 Jan 2007

I don't think there is a problem with the tone here. Bond is commonly regarded as one of Britain's, if not the world's greatest living dramatists, by most in the British theatrical profession and theatre academia and you will find one of his plays on any course on modern British drama worth its salt - usually Lear. However, you could source such comments from the programme to 'the Sea' at the Haymarket for instance, or one of the numerous books on Bond such as Michael Mangan's Edward Bond [Northcote House 1998] - though for my money Jenny Spencer's Dramatic Strategies in the plays of Edward Bond ( Cambridge 1992] and finally [!] in pbk is the best book on his work. 'The Sea', Bond's resituation of the 'Tempest' is an astonishing production BTW, as indeed was 'Lear' at Sheffield.

The reasons for Bond's difficult working relationship with Britain's theatre community is probably too complex for a wikipedia style article, but the sour quarrels between Bond and the RSC and subsequent litigation, without precedent in UK theatre history, led to a mutual cold war between Bond and British theatre directors and theatres. Bond doesn't want his plays performed in Britain, as he doesn't trust British directors to do his work justice, and they in turn regard Bond as immensely difficult because he wanted total command of how his plays are staged. No one apart from Beckett ever got that. not even pinter.The Europeans were and are happy to do this, however, as the French and Germans adore him. How Kent manged to convince Bond to let him stage his work I don't quite know, though of course Kent's work at the Almedia was greatly admired by everyone who saw it. Maybe Bond is just getting more tolerant as he get's older. I just wish they'd revive Lear as a touring production as it is an astonishing, albeit extremely gruelling work, and everyone deserves the right to see what is one of the finest plays written in the period.

So it isn't as if Bond is ignored by Britain or that the theatre community do not regard him as a great playwright, they just do not stage him professionally, with the exception of Big Brum whom Bond approves of and allows to do his work. However all students doing Modern British Theatre courses or studying in drama school since about 1970 are very familiar with Bond's work and his influence is very powerful. Sarah Kane - 'You can learn everything about playwriting from studying Saved' to Mark Ravenhill - 'More than ever it seems to me. Bond is our contemporary.' There is a good radio discussion at Theatre Voice on Bond from 2005 as part of the Reputations series - http://www.theatrevoice.com/the_archive/the_archive_an/default.asp?letter=R.

BTW the full title of the latest Bond critical book is The Hidden Plot: Notes on Theatre and the State [Methuen 1999] - for Bond all theatre is about politics it has been and always is.

best, Steve Barfield, University of Westminster UK 1.3.08 —Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[User:StevenBarfield|StevenBarfield]] ([[User talk:StevenBarfield|talk]] • [[Special:Contributions/StevenBarfield|contribs]]) 11:49, 1 March 2008 (UTC) 

A quick response to Steve's comments above: There's an article by Michael Billington in The Guardian ( http://arts.guardian.co.uk/print/0,,331935879-123425,00.html ) with some excellent information about Bond's conflict with the theatre establishment in England. The article also includes comments by Jonathan Kent about Kent's desire to direct two more of Bond's plays, Bingo and Saved, though it gives no indication of when or if that will happen. [[User:Older Wiser Juliet|Older Wiser Juliet]] ([[User talk:Older Wiser Juliet|talk]]) 05:59, 9 March 2008 (UTC)Older_Wiser_Juliet

:The best reply I can make to StevenBarfield is that although I happen to agree that Bond is a major playwright and a hugely influential one, the article is not the place to make unsupported comments to that effect. If he can provide citations for the Kane and Ravenhill quotes, I would be happy to include them in the article. Whatever Wikipedia says about Bond should be strictly factual; it happens to be a fact that he has been hailed by other writers as a master, but we need sources for the hails, as it were. [[User:Lexo|Lexo]] ([[User talk:Lexo|talk]]) 13:09, 14 July 2008 (UTC)

"Since the early 1970s, Bond has been conspicuous as the first dramatist since George Bernard Shaw to produce long, serious prose prefaces to his plays."
In which case the author should read a bit more. Try starting with Arthur Miller. — Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[Special:Contributions/213.107.188.146|213.107.188.146]] ([[User talk:213.107.188.146|talk]]) 09:49, 17 March 2013 (UTC) 

== External links modified ==

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== "lower-working-class" ==

May I ask what the above phrase means when used to describe Bond's family background in paragraph 2?
I am familiar with the term "working class" of course, but unsure what 'LOWER-working class' means in terms of social strata (and I have live in UK all my life) Is this a valid and accepted definition - the adjective 'lower' to clarify working class...
(== Early life ==
Thomas Edward Bond was born on 18 July 1934 into a lower-working-class family in [[Holloway, London|Holloway] [[User:Invulgo|Invulgo]] ([[User talk:Invulgo|talk]]) 18:48, 5 March 2024 (UTC)

Talk:Grinling Gibbons

2023-12-04T08:38:54Z

Invulgo: /* Why no mention of him being famous for incorporating peapods into his carvings? */

{{WikiProject Biography
|living=no
|class=Start
|a&e-work-group=yes
|listas=Gibbons, Grinling
}}
{{WikiProject Visual arts|cat=|class=Start}}

== Note of some carvings ==

Just a note to avoid confusion:
*In [[1691]]/93 Gibbons carved the altar for the chapel of [[Trinity College, Oxford]]
*Around [[1691]]-1695 he also carved decorations for the [[Wren Library]] of [[Trinity College, Cambridge]]
There also seems to be a number of other significant events that could do with mentioning (these need checking)
*Decoration for [[Chatsworth House]]
*the ceiling for a room at [[Petworth House]]
*Carvings in the Great Hall of [[Blenheim Palace]] (1716)
-- [[User:Solipsist|Solipsist]] 20:41, 26 July 2005 (UTC)

== Category for his work? ==

Is it worth having a category "Buildings bearing Grinling Gibbons carvings"? [[User:Pseudomonas|Pseudomonas]]([[User talk:Pseudomonas|talk]]) 19:45, 31 December 2007 (UTC)

== Material from 1877 ==

In case it's useful, most of the following is verbatim from the stated 1877 source. The Hampton Court article already mentions his work there. -- [[User:SEWilco|SEWilco]] ([[User talk:SEWilco|talk]]) 02:34, 15 May 2008 (UTC)

* The most important feature of this era in furniture and decoration was the appearance of the carved work of [[Grinling Gibbons]] and his pupils, chiefly executed on the frames of mirrors, on panels and mantelpieces. There had been nothing exactly like it before, and there has been nothing comparable to it since. After its worth was recognized, it was used wherever it could be had, in church, palace, and cathedral It was carving of the naturalistic order, but with a symmetrical arrangement of the objects and a faultless finish. "The flowers and foliages of his groups or garlands sweep round in bold and harmonious curves, making an agreeable whole, though for architectural decorative carving no work was ever so free from conventional arrangements. His animals or his flowers appear to be so many separate creations, from nature, laid or tied together separately, though in reality formed out of a block, and remaining still portions of a group cut in the solid wood." This copying of natural forms, as executed with the marvelous technique of Gibbons — his grace, his dexterity, and his matchless truthfulness — has a value of its own entirely independent of its relation to other forms of art. "This day," writes [[John Evelyn|Evelyn]] in his diary on [[January 18]], [[1671]], "I first acquainted his Majesty with that incomparable young man Gibbons, whom I had lately met with in an obscure place by mere accident, as I was walking near a poor solitary thatched house in a field in our parish near Sayles Court. I found him shut in, but looking in at the window I perceived him copying that large cartoon or crucifix of [[Tintoretto]], a copy of which I had myself brought from Venice, where the original painting remains. I asked if I might enter; he opened the door civilly to me, and I saw him about such a work as, from the curiosity of handling, drawing, and studious exactness, I had never before seen in all my travels. I question him why he worked in such an obscure and lonesome place; he told me it was that he might apply himself to his profession without interruption, and wondered not a little how I found him out. I asked if he was unwilling to be made known to some great man, for that I believed it might turn to his profit. He answered he was yet but a beginner, but would not be sorry to sell off that piece. On demanding the price, he said one hundred pounds. In good earnest, the very frame was worth the money, there being nothing in nature so tender and delicate as the flowers and festoons about it, and yet the work was very strong. In the piece was more than one hundred pieces of men." The carving of Gibbons that was first carried to the queen in order to secure her favor did not chance to please a certain old woman who had the royal ear, and it was not at once that the artist obtained the consideration which was his due; he has, however, enjoyed it ever since, and his work is still held among the treasures of English art. Some of the best and most interesting of it is at [[Hampton Court Palace]] and at [[Chatsworth House]]; and the school of carvers that followed him decorated all London with such masterly work that it is plain that if here had been any artist capable of designing, as there were carvers capable of executing, it would have been a mighty period of decorative art.
* {{cite journal|title=Elizabethan and later English furniture|journal=Harper's New Monthly Magazine|date=1877-12|first=|last=|coauthors=|volume=56|issue=331|pages=27-28|id= |url=|format=|accessdate= }}

:: Sayles Court above is no doubt the now [[Sayes Court]], where Evelyn had a house and garden, leased from King Charles II.

:: [[User:Claverhouse|Claverhouse]] ([[User talk:Claverhouse|talk]]) 17:37, 18 November 2022 (UTC)

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== Why no mention of him being famous for incorporating pea pods into his carvings? ==

Why no mention of him being famous for incorporating pea pods into his carvings? - Just that this is the only thing I already knew about him beforehand! [[User:Invulgo|Invulgo]] ([[User talk:Invulgo|talk]]) 08:37, 4 December 2023 (UTC)

Talk:Grinling Gibbons

2023-12-04T08:37:13Z

Invulgo: /* Why no mention of him being famous for incorporating peapods into his carvings? */ new section

{{WikiProject Biography
|living=no
|class=Start
|a&e-work-group=yes
|listas=Gibbons, Grinling
}}
{{WikiProject Visual arts|cat=|class=Start}}

== Note of some carvings ==

Just a note to avoid confusion:
*In [[1691]]/93 Gibbons carved the altar for the chapel of [[Trinity College, Oxford]]
*Around [[1691]]-1695 he also carved decorations for the [[Wren Library]] of [[Trinity College, Cambridge]]
There also seems to be a number of other significant events that could do with mentioning (these need checking)
*Decoration for [[Chatsworth House]]
*the ceiling for a room at [[Petworth House]]
*Carvings in the Great Hall of [[Blenheim Palace]] (1716)
-- [[User:Solipsist|Solipsist]] 20:41, 26 July 2005 (UTC)

== Category for his work? ==

Is it worth having a category "Buildings bearing Grinling Gibbons carvings"? [[User:Pseudomonas|Pseudomonas]]([[User talk:Pseudomonas|talk]]) 19:45, 31 December 2007 (UTC)

== Material from 1877 ==

In case it's useful, most of the following is verbatim from the stated 1877 source. The Hampton Court article already mentions his work there. -- [[User:SEWilco|SEWilco]] ([[User talk:SEWilco|talk]]) 02:34, 15 May 2008 (UTC)

* The most important feature of this era in furniture and decoration was the appearance of the carved work of [[Grinling Gibbons]] and his pupils, chiefly executed on the frames of mirrors, on panels and mantelpieces. There had been nothing exactly like it before, and there has been nothing comparable to it since. After its worth was recognized, it was used wherever it could be had, in church, palace, and cathedral It was carving of the naturalistic order, but with a symmetrical arrangement of the objects and a faultless finish. "The flowers and foliages of his groups or garlands sweep round in bold and harmonious curves, making an agreeable whole, though for architectural decorative carving no work was ever so free from conventional arrangements. His animals or his flowers appear to be so many separate creations, from nature, laid or tied together separately, though in reality formed out of a block, and remaining still portions of a group cut in the solid wood." This copying of natural forms, as executed with the marvelous technique of Gibbons — his grace, his dexterity, and his matchless truthfulness — has a value of its own entirely independent of its relation to other forms of art. "This day," writes [[John Evelyn|Evelyn]] in his diary on [[January 18]], [[1671]], "I first acquainted his Majesty with that incomparable young man Gibbons, whom I had lately met with in an obscure place by mere accident, as I was walking near a poor solitary thatched house in a field in our parish near Sayles Court. I found him shut in, but looking in at the window I perceived him copying that large cartoon or crucifix of [[Tintoretto]], a copy of which I had myself brought from Venice, where the original painting remains. I asked if I might enter; he opened the door civilly to me, and I saw him about such a work as, from the curiosity of handling, drawing, and studious exactness, I had never before seen in all my travels. I question him why he worked in such an obscure and lonesome place; he told me it was that he might apply himself to his profession without interruption, and wondered not a little how I found him out. I asked if he was unwilling to be made known to some great man, for that I believed it might turn to his profit. He answered he was yet but a beginner, but would not be sorry to sell off that piece. On demanding the price, he said one hundred pounds. In good earnest, the very frame was worth the money, there being nothing in nature so tender and delicate as the flowers and festoons about it, and yet the work was very strong. In the piece was more than one hundred pieces of men." The carving of Gibbons that was first carried to the queen in order to secure her favor did not chance to please a certain old woman who had the royal ear, and it was not at once that the artist obtained the consideration which was his due; he has, however, enjoyed it ever since, and his work is still held among the treasures of English art. Some of the best and most interesting of it is at [[Hampton Court Palace]] and at [[Chatsworth House]]; and the school of carvers that followed him decorated all London with such masterly work that it is plain that if here had been any artist capable of designing, as there were carvers capable of executing, it would have been a mighty period of decorative art.
* {{cite journal|title=Elizabethan and later English furniture|journal=Harper's New Monthly Magazine|date=1877-12|first=|last=|coauthors=|volume=56|issue=331|pages=27-28|id= |url=|format=|accessdate= }}

:: Sayles Court above is no doubt the now [[Sayes Court]], where Evelyn had a house and garden, leased from King Charles II.

:: [[User:Claverhouse|Claverhouse]] ([[User talk:Claverhouse|talk]]) 17:37, 18 November 2022 (UTC)

== External links modified ==

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I have just modified one external link on [[Grinling Gibbons]]. Please take a moment to review [[special:diff/814579439|my edit]]. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit [[User:Cyberpower678/FaQs#InternetArchiveBot|this simple FaQ]] for additional information. I made the following changes:
*Added archive https://web.archive.org/web/20141124134109/http://www.stgeorges-windsor.org/archives/archive-features/image-of-the-month/title1/the-beaufort-chantry.html to http://www.stgeorges-windsor.org/archives/archive-features/image-of-the-month/title1/the-beaufort-chantry.html

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== Why no mention of him being famous for incorporating peapods into his carvings? ==

Why no mention of him being famous for incorporating peapods into his carvings? - Only this is the only thing I already knew about him beforehand! [[User:Invulgo|Invulgo]] ([[User talk:Invulgo|talk]]) 08:37, 4 December 2023 (UTC)

Palazzo della Civiltà Italiana

2022-01-08T13:43:09Z

Invulgo: /* Appearance in film and television */ I removed the reference to the film by Bernardo Bertolucci called The Conformist as featuring 'Palazzo della Civiltà Italiana' as it is the 'Palazzo dei Congressi' (interior) that is featured in that film, not the former.

{{Short description|Building in EUR, Rome}}
{{Infobox building
| name = Palace of Italian Civilization
| native_name = Palazzo della Civiltà Italiana
| native_name_lang = it
| image = Palazzo della civiltà del lavoro (EUR, Rome) (5904657870).jpg
| caption = View of the building from west
| location = EUR, [[Rome]], [[Italy]]
| architect = Giovanni Guerrini, Ernesto La Padula, Mario Romano
| coordinates = {{coord|format=dms|display=i}}
| mapframe-caption = Click on the map to see marker
| mapframe-zoom = 13
}}
The '''Palazzo della Civiltà Italiana''', also known as the '''Palazzo della Civiltà del Lavoro''', or in everyday speech as the {{lang|it|'''Colosseo Quadrato'''}} ("Square Colosseum"), is a building in the [[EUR, Rome|EUR]] district in Rome.{{r|alberto|page=199}} It was designed in 1938 by three Italian architects: Giovanni Guerrini, Ernesto La Padula, and Mario Romano.<ref name=":0">{{Cite journal|last=Capomolla|first=Rinaldo|date=2003|title=Palazzo Della Civiltà Italiana, Rome: Giovanni Guerrini, Ernesto Lapadula, Mario Romano (1938-1943)|url=|journal=Docomomo Journal|pages=45–50}}</ref> The building is an example of Italian [[Rationalism (architecture)|Rationalism]] and [[fascist architecture]] with neoclassical design, representing {{lang|it|romanità}}, a philosophy which encompasses the past, present, and future all in one.<ref name=":1">{{Cite journal|last=Zambenedetti|first=Alberto|date=2010|title=Filming in Stone: Palazzo Della Civiltà Italiana and Fascist Signification in Cinema|journal=Annali d'Italianistica 28|volume=28|pages=199–215|via=JSTOR}}</ref> The enormity of the structure is meant to reflect the fascist regime's new course in Italian history.<ref name=":1" /> The design of the building draws inspiration from the [[Colosseum]] with rows of arches.<ref name=":1" /> According to legend, the structure's six vertical and nine horizontal arches are correlated to the number of letters in the Italian dictator [[Benito Mussolini]]'s name.<ref name=":1" />

The Palazzo was inaugurated on November 30, 1940, despite being unfinished. Ten years after its completion, the Palazzo was adorned with statues on the ground floor and steps that ascend to its entrance.<ref name=":1" /> The building was designed to be the Museum of Italian Civilization at the 1942 World Fair, demonstrating the superiority of Italian architecture.<ref name=":0" /> The building is located in the [[Esposizione Universale Roma]] (EUR) district of Rome, also known as the E42 district, which serves as a symbol of Italy's [[National Fascist Party]].<ref name=":0" /> Ultimately the building was never used for its intended purposes following the aftermath of [[World War II]], however the EUR has since been revitalized as a residential and business district.<ref>{{Cite journal|last=Cosmo|first=Laurie Beth Kalb|date=2017|title=DEFINING SELF BY COLLECTING THE OTHER: MUSSOLINI'S MUSEUMS AT THE EUR WORLD'S FAIR SITE|journal=Mitteilungen des Kunsthistorischen Institutes in Florenz 59|volume=1|pages=124–42|via=JSTOR}}</ref> The building is now used as the headquarters for the Italian fashion house [[Fendi]].

== History ==
The Palazzo della Civiltà Italiana was constructed as part of the program of the [[Esposizione Universale Roma]], a large [[serviced office|business center]] and suburban complex, initiated in 1935 by [[Benito Mussolini]] for the planned [[Esposizione universale (1942)|1942 world exhibition]] and as a symbol of the [[National Fascist Party|Fascist]] regime. In 1935, Italy requested to host the upcoming world's fair in 1941, however the date was pushed to 1942, the twentieth anniversary the Fascist Party's control of Italy, through intentional advertising of the event as E'42.<ref name=":22">{{Cite journal|last=Rhodes|first=John David|date=2011|title=The Eclipse of Place: Rome's EUR from Rossellini to Antonioni|journal=University of Minnesota Press|volume=In Taking Place: Location and the Moving Image|pages=31–54|via=JSTOR}}</ref> After the world's fair, the area was planned to serve as a center of urbanization that was an extension of Rome, with its area equal in size to Rome's [[Centro Storico]].<ref name=":22" /> Design teams proposed different architectural plans for the building; Mussolini ultimately favored the plan designed by architects Giovanni Guerrini, Ernesto Bruno La Padula, and Mario Romano for its rationalism. Construction began in 1938 and finished in 1943.<ref name=":22" /> The final plans were revised by [[Marcello Piacentini]], the superintendent of the E42 Architecture Service, who decided to add a [[travertine]] exterior to the facade and accentuate the classical features of the design.<ref name=":0" /><ref name=":22" /> The structure is also considered one of the most representative examples of [[fascist architecture]] at the EUR.<ref name=":0" /> The progress of the building was documented through the Fascist newsreel documentary service [[Istituto Luce]], which captured various events including Mussolini planting a tree on the grounds in 1937.<ref name=":22" /> The documentation of the progress was a form of publicity and also provided insight into the daily lives of laborers working on the project.<ref name=":22" /> The Palazzo was inaugurated on November 30, 1940, as the centerpiece of the Esposizione; one thousand of the workers were laid off by the end of the year.<ref name=":22" />

[[File:E42 in costruzione.jpg|thumb|View of the building during its construction (1940)|left|327x327px]]
The world's fair was cancelled on June 3, 1941, while the building was being finished.<ref name=":0" /> By 1942, the EUR was declared a dead-end project, and the fall of the Fascist regime followed in 1943.<ref name=":22" /> The Palazzo stood empty and abandoned for over a decade following the aftermath of [[World War II]].<ref name=":22" /> The building became the backdrop for post-war cinema, featured as an obsolete structure, symbolic of the downfall of the Fascist regime.<ref name=":22" /> In order to reclaim the EUR from its fascist history, postwar Italians decided to make new use of the district for suburban housing to remedy the rise in the Italian population that occurred during the Fascist era.<ref name=":22" /> In the 1950s, the EUR was rebranded as a modern, business district in order to break away from its fascist stigma.<ref name=":22" /> The rebranding and revival of this district was further expedited by Rome's candidacy for the 1960 Olympics; by the end of the decade, the EUR had become a residential quarter as well as a flourishing administrative district.<ref name=":22" /> The building opened its doors to the public for the first time in 1953. It hosted the [[EA 53|Roma 1953 Agricultural Exhibition]] (''EA53)''.<ref name="LA">{{cite web|url = http://www.bie-paris.org/main/pages/files/expos/1953R-bis.pdf|title = Rome 1953|work = BIE Web Site|accessdate= 7 November 2007|archiveurl= https://web.archive.org/web/20071027143752/http://www.bie-paris.org/main/pages/files/expos/1953R-bis.pdf|archivedate = 2007-10-27}}</ref><ref>{{cite web | url=https://www.europeana.eu/resolve/record/2051914/data_euscreenXL_IL5000026187|title=Serata di gala all'E.A. 53|accessdate=2015-11-25 |publisher=Europeana}}</ref>

Between 2003 and 2008, the palace was closed to the public for restoration. Since 2015, it has housed the headquarters of luxury fashion label [[Fendi]], and will continue to do so for at least the next 15 years. Fendi will reportedly pay 2.8 million euros per year to occupy the space.<ref>[http://www.blouinartinfo.com/news/story/931167/fendis-new-headquarters-are-a-fascist-icon Fendi's New Headquarters Are a Fascist Icon] ''Blouin Artinfo'', July 18, 2013.</ref> The ground floor of the building will reportedly be left open to house exhibitions celebrating Italian craftsmanship.<ref>Karmali, Sarah (18 July 2013), [http://www.vogue.co.uk/news/2013/07/18/fendi-moves-headquarters-to-palazzo-della-civilta-italiano-in-rome Fendi Relocates To A Roman Palace] ''[[Vogue (British magazine)|Vogue]]''.</ref>

An exhibition, entitled "Una Nuova Roma", about the history of the EUR district was on display until March 7, 2016, on the ground floor of the building.

== Construction ==
[[File:Square_colosseum_-_Flickr_-_batintherain.jpg|thumb|260x260px|''Square Colosseum with Travertine Cladding'']]
The Palazzo was designed by Guerrini, La Padula, and Romano, however the plans were modified by engineers and their director, Gaetano Minnucci, who was ultimately able to make any changes he saw fit.<ref name=":0" /> The Project Development Office of the Architectural Service, in collaboration with the building contractor, oversaw the logistics of the construction and positioning of the travertine cladding as well as the foundation of the building.<ref name=":0" /> Like many other buildings of the EUR district, the Palazzo's materials consist of a concrete foundation and skeleton, clad in travertine, a stone used to give the effect of solid marble.<ref name=":1" />

=== Travertine Cladding ===
The Palazzo appears to be entirely made of stone, however its stone facade is reinforced with a concrete skeleton. The stone slabs measure between 55 and 85 cm tall and approximately 210 cm wide; the thickness of the stone slabs vary from 5 to 20 cm throughout the structure with the thickest slabs are on the lower floors. The reduction in the thickness of the slabs in the upper floors is meant to accentuate the height of the structure. The impression of the building's height is further enhanced through a slight inward incline in the facade by around 3 cm per floor[[Optical aberration|.]]<ref name=":0" />

Before the arches could be made, the building required a strong concrete and brick pilaster backbone. The pillars are 120 cm in width on all floors, but the thickness of the pillars varies from 210 – 193 cm. Perforated bricks were used to fill the gaps between the pilasters and cladding. To ensure that the structure was well bonded, each slab was anchored with two rod-iron clamps.<ref name=":0" />

After the framework of the structure was secure, the stone arches were anchored to the pilasters with iron clamps. The arches support not only their own weight, but also the weight of the two perforated brick supports, the walls above that fill the gap between the arch and the floor, the wall behind the slabs, and the weight of the [[Cladding (construction)|cladding]] of upper arches. The concrete pilasters fortify the force from the weight above and transfers it down, thus the arches along with the pilasters are essential for the Palazzo's structural stability.<ref name=":0" />

Work began on the cladding in 1940 and finished less than a year later. The Palazzo was cleaned and polished upon completion to achieve a smooth, uniform surface throughout, and finally coated with essence of nicotine in water. The uniform structure was not ornamented, emphasizing the [[Fascist architecture|fascist architectural]] ideals.<ref name=":0" />

== Design ==
[[File:Fendiheadquartersbuilding.jpg|thumb|View of the Palazzo della Civiltà Italiana and one of its statues]]
The EUR provides a large-scale image of how urban Italy might have looked if the Fascist regime had not fallen during the war—large, symmetrical streets and austere buildings of [[limestone]], [[tuff]] and [[marble]], in either ''Stile Littorio'' ([[lictor]]), inspired by ancient [[Roman architecture]], or [[Rationalism (architecture)|Rationalism]]. Its architectural style is often called ''simplified [[neoclassicism]]''. [[Marcello Piacentini]], the coordinator of the commission for [[Esposizione Universale Roma|E42]], based it on the Italian [[Rationalism (architecture)|Rationalism]] of [[Giuseppe Pagano|Pagano]], [[Adalberto Libera|Libera]], and [[Giovanni Michelucci|Michelucci]].

The design of the "Square Colosseum" was inspired by the [[Colosseum]], and the structure was intended by [[Benito Mussolini]] as a celebration of the older Roman landmark. Similar to the Colosseum, the palace has a series of superimposed [[loggia]]s, shown on the [[façade|facade]] as six rows of nine arches each, although these two numbers, originally 13 x 8, changed several times (11 x 7, 11 x 6, 7 x 5) during the design process.<ref>Casciato (2002), pp. 56-60</ref>

The Palazzo is entirely clad in [[travertine]], a characteristic of many buildings in the EUR district. The structure is a [[parallelepiped]], which sits atop a square base (51.6 x 51.6m) that stands on a [[stylobate]]. Each of the four sides of the building has a height of 57.75m, which was the largest travertine facade in Italy at the time of construction. Each facade of the building is equipped with six rows of nine symmetrical and identical arches that contribute to the open plan.<ref name=":0" /> The architects wanted the building to appear "not as if it were 'clad' in stone, but as if it were actually 'made' of stone."<ref name=":0" /> The scale is imposing: the base covers an area of 8,400 square meters, and the building has a volume of 205,000 cubic meters with a height of 68 meters (50 meters from the base).<ref name=":0" />

=== Epigraphy ===
[[File:Iscrizione_italiani_popolo_di_poeti.JPG|left|thumb|Inscription from Mussolini's speech: ''"Un popolo di poeti, di artisti, di eroi, di santi, di pensatori, di scienziati, di navigatori, di trasmigratori"'']]
Atop all four sides of the building runs an inscription taken from a speech that Mussolini delivered on 2 October 1935: ''"Un popolo di poeti, di artisti, di eroi, di santi, di pensatori, di scienziati, di navigatori, di trasmigratori"'' ("a nation of poets, of artists, of heroes, of saints, of thinkers, of scientists, of navigators, of migrators").<ref>{{cite web|title = Mussolini Justifies War Against Ethiopia|url = http://users.dickinson.edu/~rhyne/232/EthiopiaSpeech.html| website=[[Dickinson College]]| accessdate=2015-11-24}}</ref><ref>{{cite book|title = Scritti e discorsi di Benito Mussolini. Scritti e discorsi dal gennaio 1934 al 4 novembre 1935|url = https://www.worldcat.org/title/scritti-e-discorsi-di-benito-mussolini-9-scritti-e-discorsi-dal-gennaio-1934-al-4-novembre-1935/oclc/928732782&referer=brief_results|date = 1935|language = Italian|first = Benito|last = Mussolini|volume = IX|pages = 218–220|oclc = 928732782}}</ref><ref>{{cite web|title = Edifici storici – Palazzo della Civiltà Italiana|url = http://www.eurspa.it/patrimonio/edifici-storici/palazzo-della-civilt%25C3%25A0-italiana|website = EUR S.p.A. La città nella città|accessdate = 2015-11-24|url-status = dead|archiveurl = https://web.archive.org/web/20140308014423/http://www.eurspa.it/patrimonio/edifici-storici/palazzo-della-civilt%C3%A0-italiana|archivedate = 2014-03-08}}</ref> The meaning of ''trasmigratori'' in this context is generally obscure even to native Italians today, but at the time it was a reference to the first intercontinental flights pioneered by the Italians, such as the [[Decennial Air Cruise]] undertaken by [[Italo Balbo]].

The inscription featured on the Palazzo refers to Mussolini's glorification of the Fascist regime, particularly claiming the superior qualities he attributed to the Italian race.<ref name=":6">{{Cite journal|last=Flavia Marcello and Paul Gwynne|date=2015|title=Speaking from the Walls: Militarism, Education, and Romanità in Rome's Città Universitaria (1932–35)|journal=Journal of the Society of Architectural Historians |volume= 74|issue=3|pages= 323–343|jstor=10.1525/jsah.2015.74.3.323 |doi=10.1525/jsah.2015.74.3.323 }}</ref> The epigraphy for the building was originally planned to be excerpts from [[Augustus]]'s ''[[Res Gestae Divi Augusti|Res gestae]],'' a monumental inscription of the life and accomplishments of the first Roman emperor, however Mussolini's speech was ultimately chosen for the final design.<ref name=":6" /> The typeface is consistent with fascist design principles, being square and simple, easily legible from below, and carved to maximize shadows and contrast with the polished marble facade.<ref name=":6" /> Epigraphy on Italian Fascist architecture served to impose the regime's beliefs and ideologies on the public, specifically targeting an educated audience.<ref name=":6" />

=== Statuary ===
[[File:Dioscuri_of_Palazzo_della_Civiltà_Italiana.jpg|thumb|256x256px|Dioscuri of the Palazzo della Civiltà italiana]]
At the four corners of the podium are placed four equestrian sculptural groups by Publio Morbiducci and Alberto de Felci, representing the [[Dioscuri]], the two mythical Greek heroes, sons of [[Zeus]] and [[Leda (mythology)|Leda]]. Around the base of the building are 28 additional statues<ref>{{Cite web|url=https://www.telegraph.co.uk/news/worldnews/europe/italy/11938018/Fendi-unveils-restored-Mussolini-building-as-its-headquarters-in-Rome.html|title = Fendi unveils restored Mussolini building as its headquarters in Rome}}</ref> of approximately 3.4 meters in height, each under an arch, illustrating various industries and trades. These statues were added in 1942, having been constructed by eight companies specialized in the working of [[Carrara marble]] in the provinces of [[Lucca]] and [[Massa-Carrara]]. Moving around the building clockwise from the entrance, the statues represent:
{{div col|colwidth=22em}}
*[[Heroism]]
*[[Music]]
*[[Handicrafts]]
*[[Political]] Genius
*the Social Order
*[[Wage labour|Labor]]
*[[Agriculture]]
*[[Philosophy]]
*[[Commerce]]
*[[Industrial sector|Industry]]
*[[Archaeology]]
*[[Astronomy]]
*[[History]]
*[[Invention|Inventive]] Genius
*[[Architecture]]
*Law
*the Supremacy of [[Navigation]]
*[[Sculpture]]
*[[Mathematics]]
*the Genius of the [[Theatre]]
*[[Chemistry]]
*[[Printing]]
*[[Medicine]]
*[[Geography]]
*[[Physics]]
*the Genius of [[Poetry]]
*[[Painting]]
*Military genius
{{div col end}}

==In popular culture ==
The Palazzo della Civiltà Italiana has been used many times in film as a visually oppressive force, associated with Italian Fascism.<ref name=":1" /> The EUR district itself is often portrayed negatively in Italian cinema, implanted into the background as a symbol of Fascist remnants.<ref name=":22" /> The Palazzo appeared in an episode of ''Boccaccio '70'' titled, ''Le tentazioni del Dottor Antonio.'' The episode was set in the EUR district, using the Palazzo in particular to symbolize "the rigid moral order that the Christian Democrats wanted to impose on Italian society."<ref name=":1" /> The building is prominently displayed in one dream sequence where [[Anita Ekberg]]'s soft and provocative body juxtaposes the rigid and stern neoclassical structure.<ref name=":1" /> In the film ''The Belly of an Architect,'' the Palazzo is featured as a figure climbs the steps and disappears from view into one of the many arches; the scene cuts to one of the Dioscuri statues that decorate the building and then features the building's inscription: "Un popolo di poeti, di artisti, di eroi, di santi, di pensatori, di scienziati, di navigatori, di trasmigratori."<ref name=":1" /> Throughout film, the Palazzo is commonly used as a symbol of conservatism associated with Italian Fascism.<ref name=":1" />

=== Appearance in film and television ===
Because of its bold appearance and iconic status, the palace has appeared in a number of films, including (in chronological order):
*''[[Rome, Open City]]'' (1945)<ref>https://schloss-post.com/reopened-city/</ref>
*''[[Boccaccio '70]]'' (1962), in the episode ''Le tentazioni del dottor Antonio'' by [[Federico Fellini]], with [[Peppino de Filippo]] and [[Anita Ekberg]]
*''[[The Last Man on Earth (1964 film)|The Last Man on Earth]]'' (1964) by [[Ubaldo Ragona]] and [[Sidney Salkow]], with [[Vincent Price]]

*''[[The Belly of an Architect]]'' (1987) by [[Peter Greenaway]]
*''[[Hudson Hawk]]'' (1991) by [[Michael Lehmann]], with [[Bruce Willis]]
*''Fatal Frames'' (1996) by Al Festa, with Rick Gianasi
*''Cruel Summer'' (1998) music video by [[Ace of Base]]
*''[[Titus (film)|Titus]]'' (1999) by [[Julie Taymor]], with [[Anthony Hopkins]]
*''[[Equilibrium (film)|Equilibrium]]'' (2001) by [[Kurt Wimmer]], with [[Christian Bale]]
*''[[Pasolini (Film)]]'' (2014) by [[Abel Ferrara]]
*''[[Zoolander 2]]'' (2016)
*''[[I Can Quit Whenever I Want: Masterclass]]'' (2017) by [[Sydney Sibilia]]
*''[[Fendiman - Jackson Wang]]'' (2018)

==Notes==
{{notelist}}

== References ==
{{reflist|refs=
<ref name=alberto>Alberto Zambenedetti (1983). [https://www.jstor.org/stable/24016394 Filming in Stone: Palazzo della Civiltà Italiana and Fascist Signification in Cinema]. ''Annali d'Italianistica''. '''28''', Capital City: Rome 1870-2010: 199–215. {{subscription required}}.</ref>
}}

==Sources==
* {{Cite book | author= Maristella Casciato| editor1= Maristella Casciato | editor2= Sergio Poretti |title=Il Palazzo della civiltà italiana: cronaca del concorso|work= Il Palazzo della civiltà italiana. Architettura e costruzione del Colosseo quadrato | year= 2002| publisher = Federico Motta | location= Milano |language=it| isbn = 88-7179-358-7 }}

{{Commons category|Palazzo della Civiltà Italiana}}

{{coord|41|50|12.06|N|12|27|55.11|E|dim:80_scale:800_region:IT-RM_type:landmark_source:dewiki|display=title}}

{{Authority control}}

{{DEFAULTSORT:Palazzo Della Civilta Italiana}}
[[Category:Government buildings completed in 1943]]
[[Category:Italian fascist architecture]]
[[Category:Palaces in Rome|Civilta Italiana]]
[[Category:Modernist architecture in Italy]]
[[Category:Rome Q. XXXII Europa]]
[[Category:World's fair architecture in Italy]]

Éliane Radigue

2021-04-09T18:50:49Z

Invulgo: /* 2000s–present: Acoustic works */ Corrected spelling of L'ile Re-Sonante

{{more sources needed|date=September 2019}}
{{Infobox musical artist
| name = Éliane Radigue
| image = Éliane Radigue and Cat.jpg
| caption = Éliane Radigue
| image_size =
| background = non_performing_personnel
| birth_date = {{birth date and age|1932|01|24}}{{cn|date=July 2020}}
| birth_place = Paris, France
| genre = {{hlist|[[electronic music|Electronic]]|[[drone music|drone]]|[[minimal music|minimalism]]|[[musique concrète]]}}
| years_active = 1950s–present
| label = [[Lovely Music Ltd]], [[Important Records]], [[shiiin records]]
| website = {{URL|http://www.lovely.com/bios/radigue.html}}
}}

'''Éliane Radigue''' (born January 24, 1932{{Citation needed|date=July 2020}}) is a French [[electronic music]] composer. She began working in the 1950s and her first compositions were presented in the late 1960s. Until 2000 her work was almost exclusively created with the [[ARP 2500]] [[modular synthesizer]] and [[magnetic tape|tape]]. Since 2001 she has composed mainly for [[acoustic music|acoustic instruments]].<ref>Joanna Demers ''Listening through the Noise: The Aesthetics of Experimental ...'' 2010, p. 94: "The work of Éliane Radigue quickly puts to rest suspicions that all drones sound like Young's. Radigue is a French electronic-music composer who studied with Schaeffer and Pierre Henry in the 1950s before trading musique concrète for a ..."</ref>

== Biography ==
Radigue was born in a modest family of merchants and raised in Paris at [[Les Halles]].{{Cn|date=July 2020}} She later married the French-born American artist [[Arman]] with whom she lived in [[Nice]] while raising their three children, before returning to Paris in 1967. She had studied piano and was already composing before hearing a broadcast by the founder of [[musique concrète]] [[Pierre Schaeffer]]. She soon met him, and in the early '50s became his student, working periodically at the [[Studio d'Essai]] during visits to Paris. In the early 1960s, she was assistant to [[Pierre Henry]], creating some of the sounds which appeared in his works.<ref>{{Cite web|url=http://www.lovely.com/bios/radigue.html|title=Eliane Radigue|website=www.lovely.com|access-date=2016-12-11}}</ref> As her own work matured, Schaeffer and Henry felt that her use of [[audio feedback|microphone feedback]] and long [[tape loop]]s (as heard in ''Vice-Versa'' and ''Feedback Works 1969-1970'') was moving away from their ideals, though her singular practice was still related to their methods.

== Career ==

=== 1955–1957: Apprenticeship in musique concrète ===
Radigue's initial education on electroacoustic music was from composer [[Pierre Schaeffer]], whom she was introduced via radio broadcasts of his music. After meeting him in person through a mutual friend,<ref name=":0">{{Cite news|last=Wyse|first=Pascal|url=https://www.theguardian.com/music/2011/jun/16/eliane-radigue-electronic-music-interview|title=Eliane Radigue's brave new worlds|date=2011-06-16|work=The Guardian|access-date=2020-04-20|language=en-GB|issn=0261-3077}}</ref> Radigue started her music education under Schaeffer and [[Pierre Henry]] at [[Studio d'Essai]] de la [[Radiodiffusion-Télévision Française|Radiodiffusion Nationale]] in Paris on 1955. At the institution, Radigue was trained on tape music techniques as a part of her education in [[musique concrète]]. Radigue described the experience as eye-opening, as it introduced her to the idea that any sounds were able to be considered musical. However, she also described her early music to be paralleled from the practice as both of her educators disfavored electronic music over musique concrète principles.<ref name=":0" /><ref>{{Cite web|url=https://www.electronicbeats.net/eliane-radigue-an-interview/|title=Eliane Radigue: An interview|date=2012-10-11|website=Telekom Electronic Beats|language=en-US|access-date=2020-04-20}}</ref><ref>{{Cite web|url=https://purple.fr/magazine/the-cosmos-issue-32/an-interview-with-eliane-radigue/|title=éliane radigue - purple MAGAZINE|website=Purple|language=fr|access-date=2020-04-20}}</ref>

=== 1960s: Tape feedback ===
Radigue left Studio d'Essai due to the need to support her children's education. As she lost access to studios and equipment, she pursued music education on classical composition, harp, and piano.<ref>{{Cite web|title=Eliane Radigue|url=http://www.lovely.com/bios/radigue.html|website=www.lovely.com|access-date=2016-12-11}}</ref> In 1967, Radigue reconnected with Pierre Henry and started to work as his assistant at Studio Apsome. During this time, she developed particular interest in [[Audio feedback|tape feedback technique]], as it fit her sonic vision of minuscule developments over an extended time.<ref name=":03">{{Cite news|last=Wyse|first=Pascal|date=2011-06-16|title=Eliane Radigue's brave new worlds|language=en-GB|work=The Guardian|url=https://www.theguardian.com/music/2011/jun/16/eliane-radigue-electronic-music-interview|access-date=2020-04-20|issn=0261-3077}}</ref><ref>{{Cite journal|last=Gluck|first=Bob|editor-last=Merkowitz|editor-first=Jennifer|title=An Interview with Eliane Radigue|url=http://www.computermusic.org/media/documents/array/Array09-10.pdf|journal=Array|date=2009–2010|pages=45-49}}</ref> A year left, Radigue resigned and started her professional music career, primarily working within the tape editing medium.

=== 1970s–1990s: Experiments with synthesizers ===
Around 1970, Radigue created her first synthesizer-based music in a studio she shared with [[Laurie Spiegel]] on a [[Buchla synthesizer]] installed by [[Morton Subotnick]] at NYU. (''Chry-ptus'' dates from this time.) Her goal at this point was to create a slow, purposeful "unfolding" of sound through the use of analogue synthesizers and magnetic tape, with results she felt to be closer to the minimal composers of New York at the time than to the French musique concrète composers who had been her previous allies.<ref>{{Cite journal|last=Nagoski|first=Ian|date=n.d.|title=Very Slowly from the Inside: an Interview with Éliane Radigue|journal=Yeti|volume=8|pages=54}}</ref> She experimented with Buchla and [[Moog synthesizer]]s before finding in the [[ARP 2500]] synthesizer the vehicle she would use exclusively for the next 25 years in forging her characteristic sound, beginning with ''Adnos I'' (1974). After that work's premiere at [[Mills College]] at the invitation of [[Robert Ashley]], a group of visiting French music students spoke to her about [[Tibetan Buddhism]], a subject she found fascinating and began investigating upon her return to Paris.<ref>{{Cite web|last=Gayou|first=Evelyne|title=Interview with Éliane Radigue|url=https://www.youtube.com/watch?v=dByqwi7Jvbo|access-date=2020-12-11}}</ref>

=== Buddhist influence ===
After investigating Tibetan Buddhism, she quickly converted and spent the next three years devoted to its practice under her guru Tsuglak Mawe Wangchuk (the tenth incarnation of [[Pawo Rinpoche]]),<ref>https://kagyu.org/eminence-nenang-pawo-rinpoche/</ref> who subsequently sent her back to her musical work. She returned to composition, picking up where she left off, using the same working methods and goals as before, finishing ''Adnos II'' in 1979 and ''Adnos III'' in 1980. Then came a series of works dedicated to [[Milarepa]],<ref>[https://www.nytimes.com/2015/08/21/arts/music/eliane-radigue-mining-wisdom-from-11th-century-buddhism.html "Éliane Radigue, Mining Wisdom From 11th-Century Buddhism] by Ben Ratliff, ''[[The New York Times]]'', 20 August 2015</ref> the great Tibetan yogi, known for his ''Hundred Thousand Songs'' representing the basis of his teaching. First she composed the ''Songs of Milarepa'', followed by ''Jetsun Mila'', an evocation of the life of this great master; the creation of these works was sponsored by the French government.

In the late 1980s and early 1990s, she devoted herself to a singular three-hour work, perhaps her masterpiece, the ''Trilogie de la Mort'', of which the first part ''kyema Intermediate states'' follows the path of the continuum of the six states of consciousness. The work was influenced as much by the Tibetan Book of the Dead [[Bardo Thodol]] and her meditation practice, as by the deaths of Tsuglak Mawe Wangchuk and of her son {{Interlanguage link multi|Yves Arman|fr}}. The first third of the ''Trilogie'', "Kyema", was her first recording to be released on [[Phill Niblock]]'s XI label.

=== 2000s–present: Acoustic works ===
In 2000, she made her last electronic work in Paris, ''L'Ile Re-sonante'', for which she received the [[Golden Nica Award]] at the festival [[Ars Electronica]] in 2006.

In 2001, on request from [[electric bass]]ist and composer [[Kasper T. Toeplitz]], she created her first instrumental work, ''Elemental II'', which she took up again with The Lappetites, a laptop [[improvisation]] group. She participated in their first album ''Before the Libretto'' on the Quecksilber label in 2005.

Since 2004 she has dedicated herself to works for acoustic instruments. First with the American cellist [[Charles Curtis (musician)|Charles Curtis]], the first part of ''Naldjorlak'' was premiered in December 2005 in New York and later played in 25 concerts across the U.S. and Europe. The second part of ''Naldjorlak'' for the two [[basset horn]] players Carol Robinson and Bruno Martinez, was created in September 2007 at the [[Aarau]] Festival (Switzerland). The three musicians completed the third part of ''Naldjorlak'' with Radigue and premiered the complete work, "Naldjorlak I,II,III", in Bordeaux on January 24, 2009. In June 2011 her composition for solo harp ''Occam I'', written for the harpist Rhodri Davies, was premiered in London. Numerous solos and ensemble pieces in the OCCAM cycle have followed.

== Selected works ==
* ''Vice-Versa, etc...'' Lara Vincy Gallery (Paris), 1970
* ''Chry-ptus'' New York Cultural Art Center, 1971
* ''7th Birth'' New York, 1972
* ''Geelriandre'' Théatre de la Musique, Paris, 1972
* ''Ψ 847'' The Kitchen, New York, 1973
* ''Arthesis'' Theater Vanguard, Los Angeles, 1973
* ''Biogenesis'' and ''Transamorem Transmortem'' The Kitchen, New York, 6 March 1974
* ''Adnos'' Festival d'Automne, Paris, 1974
* ''7 petites pièeces pour un Labyrinthe Sonore'' GERM, Paris, 1975
* ''Triptych'' Dancehall/Theatre of Nancy, 1978
* ''Adnos II'' Mills College, Oakland, 1980
* ''Adnos III, Prélude à Milarepa'', Experimental Intermedia Foundation, New York, 1982
* ''5 Songs of Milarepa'' San Francisco Art Institute, 1984
* ''Jetsun Mila, Vie de Milarepa'', GERM, Paris, 1986
* ''Kyema'' New Langton Arts, San Francisco, 1988
* ''Kailasha'' Experimental Intermedia Foundation, New York, 1991
* ''Koumé'' Mamac, Festival MANCA, Nice, 1993
The last three works constitute the three parts of the ''Trilogie de la Mort''.

* ''Elemental II'' Festival Cités soniques, CCmix, January 2004
* ''Naldjorlak'' Tenri Cultural Institute, New York, December 2005
* ''Naldjorlak I II III'' CACP, Bordeaux, January 2009

== Discography ==
*''Vice - Versa, Etc...'' (single disc) (Self-released, 1970)
*''Songs of Milarepa'' (single disc) (Lovely Music, 1983)
*''Jetsun Mila'' (Lovely Music, 1987)
*''Mila's Journey Inspired by a Dream'' (Lovely Music, 1987)
*''Kyema, Intermediate States'' (Experimental Intermedia, 1990)
*''Biogenesis'' (Metamkine, 1996)
*''Trilogie de la mort'' ([http://www.experimentalintermedia.org/ Experimental Intermedia], 1998)
*''[http://www.lovely.com/titles/cd2001.html Songs of Milarepa]'' (two discs) (Lovely Music, 1998)
*''Σ = a = b = a + b'' (2 x 7" limited edition) (Galerie Yvon Lambert, 1969, taken up by Povertech Industries, 2000)
*''Adnos I–III'' (Table of the Elements, 2002)
*''Geelriandre / Arthesis'' (Fringes Archive, 2003)
*''Elemental II'' (Records of Sleaze Art, 2004)
*''L'île re-sonante'' (Shiiin, 2005)
*''Chry-ptus'' (Schoolmap, 2007)
*''Naldjorlak'' for Charles Curtis, (Shiiin, 2008)
*''Triptych'' (Important, 2009)
*''Vice Versa, etc.'' (Important, 2009)
*''Jouet electronique / Elemental I'' (Alma Marghen, 2010)
*''Transamorem / Transmortem'' (Important, 2011)
*''Feedback Works 1969–1970'' (Alga Marghen, 2012)
*"Ψ 847" (Oral, 2013)
*''Naldjorlak I II III'' (shiiin, 2013)

The triple-CD recording ''Trilogie de la mort'' includes ''Kyema'', ''Kailasha'' and ''Koume''.
The two-disc recording ''Songs of Milarepa'' includes ''Mila's Journey Inspired by a Dream'' .

=== With The Lappetites ===
* ''Before the Libretto'' (Quecksilber, 2005)

== References ==
{{reflist}}

== External links ==
* [http://www.lovely.com/bios/radigue.html Éliane Radigue biography at www.lovely.com]
* [https://daily.redbullmusicacademy.com/specials/2015-eliane-radigue-feature/ "Éliane Radigue: The Mysterious Power Of The Infinitesimal" by Julien Bécourt at Red Bull Music Academy]
* [https://www.theguardian.com/music/2011/jun/16/eliane-radigue-electronic-music-interview "Interview: Eliane Radigue's brave new worlds" by Pascal Wyse at The Guardian (U.K.)]
* [http://vimeo.com/8983993 ''A Portrait of Éliane Radigue'' at Vimeo]
* {{in lang|fr}} with English sub [https://www.youtube.com/watch?v=dByqwi7Jvbo Interview Eliane RADIGUE]
* [http://kalvos.org/radigue.html Éliane Radigue interviewed on a streaming radio show broadcast 27 July 1996]. The interview starts at 38:24 and lasts an hour.
* [http://lappetites.com Lappetites home page]
* [http://www.gardenvariety.org/projects/radigue/about.html Naldjorlak (2005) for solo cello, 65 minutes]
* [http://arcanecandy.com/category/eliane-radigue/ Éliane Radigue at Arcane Candy: a review of ''Trilogie de la mort'', composed 1985–1993]

{{Portal bar|Biography|Classical music}}

{{Authority control}}

{{DEFAULTSORT:Radigue, Eliane}}
[[Category:1932 births]]
[[Category:French Buddhists]]
[[Category:20th-century Buddhists]]
[[Category:21st-century Buddhists]]
[[Category:French electronic musicians]]
[[Category:French classical composers]]
[[Category:French female classical composers]]
[[Category:Living people]]
[[Category:Women in electronic music]]

Rainer Werner Fassbinder

2021-04-07T20:50:54Z

Invulgo: /* Gods of the Plague (1970) */

{{Use dmy dates|date=March 2021}}
{{Distinguish|Fassbender}}
{{short description|German filmmaker, playwright and actor}}
{{redir|Fassbinder|the opera singer|Brigitte Fassbaender}}
{{Infobox person
| name = Rainer Werner Fassbinder
| image = PER51895 061.jpg
| caption = Fassbinder in 1980
| birth_date = {{birth date|1945|5|31|df=y}}
| birth_place = [[Bad Wörishofen]], [[Bavaria]], [[Flensburg Government|Germany]]
| death_date = {{death date and age|1982|6|10|1945|5|31|df=y}}
| death_place = [[Munich]], [[West Germany]]
| death_cause = [[Cocaine]] and [[barbiturate]] overdose
| resting_place = Bogenhausener Friedhof, Munich
| occupation = Filmmaker, actor, playwright, theatre director, composer, editor, essayist
| years_active = 1965–1982
| spouse = {{marriage|[[Ingrid Caven]]|1970|1972|end=divorced}}
| website = {{url|fassbinderfoundation.de}}
}}

'''Rainer Werner Fassbinder''' ({{IPA-de|ˈʁaɪ̯nɐ ˈvɛʁnɐ ˈfasbɪndɐ|lang|De-Rainer Werner Fassbinder.ogg}}; 31 May 1945 – 10 June 1982), sometimes credited as '''R. W. Fassbinder''',<ref>{{cite news |url=https://www.bfi.org.uk/news-opinion/news-bfi/features/where-begin-rainer-werner-fassbinder |title=Where to begin with Rainer Werner Fassbinder |work=British Film Institute |access-date=19 November 2018}}</ref> was a German filmmaker, actor, playwright, theatre director, composer, editor, and essayist. He is widely regarded as a prominent figure and catalyst of the [[New German Cinema]] movement.

His first feature-length film was a gangster movie called ''[[Love Is Colder Than Death (film)|Love Is Colder Than Death]]'' (1969); he scored his first domestic commercial success with ''[[The Merchant of Four Seasons]]'' (1972) and his first international success with ''[[Ali: Fear Eats the Soul]]'' (1974), both of which are considered masterpieces by contemporary critics. Big-budget projects such as ''[[Despair (film)|Despair]]'' (1978), ''[[Lili Marleen (film)|Lili Marleen]]'' and ''[[Lola (1981 film)|Lola]]'' (both 1981) followed.

His greatest success came with ''[[The Marriage of Maria Braun]]'' (1979), chronicling the rise and fall of a German woman in the wake of [[World War II]]. Other notable films include ''[[The Bitter Tears of Petra von Kant]]'' (1972), ''[[Fox and His Friends]]'' (1975), ''[[Satan's Brew]]'' (1976), ''[[In a Year with 13 Moons]]'' (1978), and ''[[Querelle]]'' (1982), all of which focused on gay and lesbian themes.

Fassbinder died on 10 June 1982, at age 37, from a lethal cocktail of [[cocaine]] and [[barbiturate]]s. His career lasted less than two decades, but he was extremely prolific; he completed over 40 feature films, two television series, three short films, four video productions, and 24 plays.

{{TOC limit|limit=3}}

==Early life==
Fassbinder was born in the small town of [[Bad Wörishofen]] on 31 May 1945.<ref>{{harv|Hayman|1984|p=1}}</ref> He was born three weeks after [[Seventh United States Army|US Army]] occupied the town and the [[End of World War II in Europe|unconditional surrender of Germany]]. The aftermath of [[World War II]] deeply marked his childhood and the lives of his family.<ref>{{harv|Thomsen|2004|p=2}}</ref> In compliance with his mother's wishes, Fassbinder later claimed he was born in 1946, to more clearly establish himself as a child of the post-war period; his real age was revealed shortly before his death.<ref name="Thomsen 3">{{harv|Thomsen|2004|p=3}}</ref> He was the only child of Liselotte Pempeit (1922–93), a translator, and Helmut Fassbinder, a doctor who worked from the couple's apartment in [[Sendlinger Straße]],<ref name="Hayman 2">{{harv|Hayman|1984|p=2}}</ref> near [[Munich]]'s [[red light district]].<ref name="Thomsen 3"/><ref name=" Thomsen 3"/><ref name="Watson 13">{{harv|Watson|1996|p=13}}</ref> When he was three months old, he was left with a paternal uncle and aunt in the country, since his parents feared he would not survive the winter with them. He was one year old when he was returned to his parents in Munich.<ref name="Thomsen 3"/> Fassbinder's mother came from the [[Free City of Danzig]] (now [[Gdańsk]], [[Poland]]), whence many Germans had fled following World War II. As a result, a number of her relatives came to live with them in Munich.

Fassbinder's parents were cultured members of the bourgeoisie. His father mainly concentrated on his career, which he saw as a means to indulge his passion for writing poetry. His mother largely ignored him as well, spending the majority of her time with her husband working on his career. In 1951, Liselotte Pempeit and Helmut Fassbinder divorced. Helmut moved to [[Cologne]] while Liselotte raised her son as a single parent in Munich.<ref name="Watson 13"/> In order to support herself and her child, Pempeit took in boarders and found employment as a German to English translator. When she was working, she often sent her son to the cinema to pass time. Later in life, Fassbinder claimed that he saw at least a film a day, sometimes as many as four in a day. During this period, Pempeit was often away from her son for long periods while she recuperated from [[tuberculosis]].<ref name="Hayman 3">{{harv|Hayman|1984|p=3}}</ref> In his mother's absence, Fassbinder was looked after by his mother's tenants and friends. As he was often left alone, he became used to the independence and thus, became a juvenile delinquent. He clashed with his mother's younger lover Siggi, who lived with them when Fassbinder was around eight or nine years old. He had a similar difficult relationship with the much older journalist Wolff Eder (c.1905–71), who became his stepfather in 1959.<ref>{{harv|Watson|1996|pp=14–15}}</ref> Early in his adolescence, Fassbinder came out as homosexual.<ref>{{harv|Watson|1996|p=15}}</ref>

As a teen, Fassbinder was sent to [[boarding school]]. His time there was marred by his repeated escape attempts, and he eventually left school before any final examinations. At the age of 15, he moved to Cologne with his father.<ref>{{harv|Thomsen|2004|p=5}}</ref> Though they argued constantly, Fassbinder stayed with his father for a couple of years while attending night school. To earn money, he worked small jobs; he also helped his father, who rented shabby apartments to immigrant workers. During his time with his father, Fassbinder began to immerse himself in the world of culture, writing poems, short plays, and stories.<ref name="lorenz48">{{harv|Lorenz|Schmid|Gehr|1997|p=248}}</ref>

==Beginnings==
In 1963, aged 18, Fassbinder returned to Munich with plans to attend night school with the idea to eventually study drama. Following his mother's advice, he took acting lessons and from 1964 to 1966 attended the Fridl-Leonhard Studio for actors in Munich.<ref name="lorenz48"/> There, he met [[Hanna Schygulla]], who would become one of his most important actors.<ref>{{harv|Hayman|1984|p=27}}</ref> During this time, he made his first [[8mm film]]s and worked as assistant director, [[Audio engineering|sound man]], or in small acting roles.<ref name="lorenz48"/> During this period, he also wrote the tragic-comic play: ''Drops on Hot Stones''. To gain entry to the [[Deutsche Film- und Fernsehakademie Berlin|Berlin Film School]], Fassbinder submitted a film version of his play ''Parallels''. He also entered several 8 mm films including ''This Night'' (now considered [[Lost film|lost]]),<ref>{{harv|Lorenz|Schmid|Gehr|1997|p=3}}</ref> but he was turned down for admission, as were [[Werner Schroeter]] and [[Rosa von Praunheim]] who would also have careers as film directors.<ref>{{harv|Watson|1996|p=43}}</ref>

He returned to Munich where he continued with his writing. He also made two short films,''The City Tramp'' (''Der Stadtstreicher'', 1966) and ''The Little Chaos'' (''Das Kleine Chaos'', 1967). Shot in [[black and white film|black and white]], they were financed by Fassbinder's lover, Christoph Roser, an aspiring actor, in exchange for leading roles.<ref>{{harv|Hayman|1984|p=29}}</ref> Fassbinder acted in both of these films, which also featured [[Irm Hermann]]. In the latter, his mother – under the name of Lilo Pempeit – played the first of many parts in her son's films.<ref>{{harv|Hayman|1984|p=26}}</ref>

==Theater career==
Fassbinder joined the Munich Action-Theater in 1967; there, he was active as actor, director and scriptwriter. After two months he became the company's leader. In April 1968 he directed the premiere production of his play ''Katzelmacher'', which tells the story of a foreign worker from Greece who becomes the object of intense racial, sexual, and political hatred among a group of Bavarian slackers. A few weeks later, in May 1968, the Action-Theater was disbanded after its theater was wrecked by one of its founders, jealous of Fassbinder's growing power within the group.<ref name=" Elsaesser 301">{{harv|Elsaesser|1996|p=301}}</ref> It promptly reformed as the Anti-Theater under Fassbinder's direction.<ref name=" Elsaesser 301"/> The troupe lived and performed together. This close-knit group of young actors included among them Fassbinder, [[Peer Raben]], [[Harry Baer]] and [[Kurt Raab]], who along with Hanna Schygulla and Irm Hermann became the most important members of his cinematic stock company.<ref name=" Elsaesser 301"/> Working with the Anti-Theater, Fassbinder continued writing, directing and acting. In the space of 18 months he directed 12 plays. Of these 12 plays, four were written by Fassbinder; he rewrote five others.

The style of his stage directing closely resembled that of his early films, a mixture of choreographed movement and static poses, taking its cues not from the traditions of stage theater, but from musicals, cabaret, films and the student protest movement.

After he made his earliest feature films in 1969, Fassbinder centered his efforts in his career as film director, but maintained an intermittent foothold in the theater until his death. He worked in various productions throughout Germany and made a number of radio plays in the early 1970s. In 1974 Fassbinder took directorial control over the Theater am Turm (TAT) of Frankfurt; when this project ended in failure and controversy, Fassbinder became less interested in theater.

==Early films and acclaim==
Fassbinder used his theatrical work as a springboard for making films; and many of the Anti-Theater actors and crew worked with him throughout his entire career (for instance, he made 20 films each with actresses Hanna Schygulla and Irm Herrmann). He was strongly influenced by Brecht's ''[[Distancing effect|Verfremdungseffekt]]'' (alienation effect) and the [[French New Wave]] cinema, particularly the works of [[Jean-Luc Godard]].<ref>{{harv|Watson|1996|p=111}}</ref><ref>{{harv|Elsaesser|1996|p=348}}</ref> Fassbinder developed his rapid working methods early. Because he knew his actors and technicians so well, Fassbinder was able to complete as many as four or five films per year on extremely low budgets. This allowed him to compete successfully for the government grants needed to continue making films.

Unlike the other major ''auteurs'' of the New German Cinema, [[Volker Schlöndorff]], [[Werner Herzog]] and [[Wim Wenders]], who started out making movies, Fassbinder's stage background was evident throughout his work. Additionally, he learned how to handle all phases of production, from writing and acting to direction and theater management. This versatility surfaced in his films too where, in addition to some of the aforementioned responsibilities, Fassbinder served as composer, production designer, cinematographer, producer and editor. He also appeared in 30 projects of other directors.

By 1976, Fassbinder had gained international prominence, prizes at major [[film festival]]s, premieres and retrospectives in Paris, New York and Los Angeles, and a study of his work by [[Tony Rayns]] had been published. All these factors helped make him a familiar name among cinephiles and campus audiences throughout the world. He lived in Munich when not traveling, rented a house in Paris with ex-wife Ingrid Caven.<ref name="nicodemus">{{cite web |url=http://www.signandsight.com/features/1372.html |title=No morals without style |last=Nicodemus |first=Katja |date=31 May 2007 |publisher=signandsight.com}}</ref> He was often seen in gay bars in New York, earning him cult hero status, but also a controversial reputation in and out of his films. His films were a fixture in art houses of the time after he became internationally known with ''[[Ali: Fear Eats the Soul]]''. In 1977, he was a member of the jury at the [[27th Berlin International Film Festival]].<ref>{{cite web |url=http://www.berlinale.de/en/archiv/jahresarchive/1977/04_jury_1977/04_Jury_1977.html |title=Berlinale 1977: Juries |publisher=berlinale.de |language=de |access-date=19 July 2010}}</ref>

==Film career==
[[File:Rainer Werner Fassbinder & Hanna Schygulla 02.jpg|thumb|upright=1.3|Fassbinder and [[Hanna Schygulla]] at the 1980 [[Venice Film Festival]]]]
Starting at the age of 21, Fassbinder made forty-four films and television dramas in 15 years, along with directing 15 plays for the theatre. These films were largely written or adapted for the screen by Fassbinder. He was also [[art director]] on most of the early films, editor or co-editor on many of them (often credited as Franz Walsh, though the spelling varies), and he acted in 19 of his own films as well as for other directors.<ref name="Watson 24">{{harv|Watson|1992|p=13}}</ref> He wrote 14 plays, created new versions of six classical plays, and directed or co-directed 25 stage plays. He wrote and directed four radio plays and wrote song lyrics. In addition, he wrote 33 screenplays and collaborated with other screenwriters on 13 more. On top of this, he occasionally performed many other roles such as cinematographer and producer on a small number of them. Working with a regular ensemble of actors and technicians, he was able to complete films ahead of schedule and often under budget and thus compete successfully for government subsidies. He worked fast, typically omitting rehearsals and going with the first take.<ref name="Watson 24"/>

Fassbinder's first ten films (1969–1971) were said to be an extension of his work in the theater, shot usually with a static camera and with deliberately unnaturalistic dialogue.<ref name="sensesofcinema1">{{cite web |url=http://www.sensesofcinema.com/2002/great-directors/fassbinder/ |title=» Rainer Werner Fassbinder |author=Joe Ruffell |work=sensesofcinema.com|date=21 May 2002 }}</ref>

In 1971 through 1977, his films brought him international attention, with films modeled, to ironic effect, on the melodramas [[Douglas Sirk]] made in Hollywood in the 1950s. In these films, Fassbinder explored how deep-rooted prejudices about race, sex, [[sexual orientation]], politics and class are inherent in society, while also tackling his trademark subject of the everyday [[fascism]] of family life and friendship.<ref name="sensesofcinema1"/>

The final films, from around 1977 until his death, were more varied, with international actors sometimes used and the stock company disbanded, although the casts of some films were still filled with Fassbinder regulars.<ref name="sensesofcinema1"/> He became increasingly idiosyncratic in terms of plot, form and subject matter in movies like ''The Marriage of Maria Braun'' (1979), ''The Third Generation'' (1979) and ''Querelle'' (1982). He also articulated his themes in the bourgeois milieu with his trilogy about women in post-[[fascist]] Germany: ''The Marriage of Maria Braun'' (1979), ''The Angst of Veronica Voss'' and ''Lola''.

"I would like to build a house with my films", Fassbinder once remarked. "Some are the cellars, others the walls, still others the windows. But I hope in the end it will be a house."<ref>{{cite journal |last=Ehrenstein |first=David |date=9 July 2002 |title=Rainer's Parade |journal=[[The Advocate (LGBT magazine)|The Advocate]] |publisher=Here Publishing |issue=867 |page=64 |issn=0001-8996 |url=https://books.google.com/books?id=eGQEAAAAMBAJ&q=I+would+like+to+build+a+house+with+my+films+Rainer+Werner+Fassbinder&pg=PA64}}</ref>

Fassbinder's work as a filmmaker was honored in the 2007 exhibition ''Fassbinder: Berlin Alexanderplatz'', which was organized by [[Klaus Biesenbach]] at the Museum of Contemporary Art together with [[Kunst-Werke Institute for Contemporary Art]], Berlin.<ref>{{cite web |url=http://momaps1.org/exhibitions/view/153 |title=Fassbinder: Berlin Alexanderplatz |website=momaps1.org |access-date=26 September 2017}}</ref> For his exhibition at MoMA, Klaus Biesenbach received the [[International Association of Art Critics]] (AICA) award.

===Avant-garde films (1969–1971)===
Working simultaneously in theater and film, Fassbinder created his own style from a fusion of the two artforms. His ten early films are characterized by a self-conscious and assertive [[formalism (film)|formalism]]. Influenced by [[Jean-Luc Godard]], [[Jean-Marie Straub]] and the theories of [[Bertolt Brecht]], these films are austere and minimalist in style. Although praised by many critics, they proved too demanding and inaccessible for a mass audience. Fassbinder's rapid working methods had begun by this stage.

====''Love Is Colder Than Death'' (1969)====
Shot in black and white with a shoestring budget in April 1969, Fassbinder's first feature-length film, ''[[Love Is Colder Than Death (film)|Love Is Colder Than Death]]'' (1969) (''Liebe ist kälter als der Tod''), was a [[deconstruction]] of the American gangster films of the 1930s, 1940s and 1950s. Fassbinder plays the lead role of Franz, a small-time pimp who is torn between his mistress Joanna, a prostitute played by Hanna Schygulla, and his friend Bruno, a gangster sent after Franz by the syndicate that he has refused to join. Joanna informs the police of a bank robbery the two men have planned. Bruno is killed in the shootout, but Franz and Joanna escape.<ref>{{harv|Watson|1996|p=69}}</ref><ref>{{harv|Thomsen|2004|p=66}}</ref>

''Love Is Colder Than Death'' is a low key film with muted tone, long sequences, non-naturalistic acting and little dialogue.<ref>{{harv|Watson|1996|p=71}}</ref><ref>{{harv|Thomsen|2004|p=67}}</ref> Success was not immediate. ''Love Is Colder Than Death'' was ill-received at its premiere at the [[19th Berlin International Film Festival|Berlin Film Festival]]. The film, however, already displays the themes that were to remain present through the director's subsequent work: loneliness, the longing for companionship and love, and the fear and reality of betrayal.<ref>{{harv|Thomsen|2004|p=69}}</ref>

====''Katzelmacher'' (1969)====
Fassbinder's second film, ''[[Katzelmacher]]'' (1969), (Bavarian pejorative slang term for a foreign worker from the Mediterranean), was received more positively, garnering five prizes after its debut at [[Mannheim]]. It features a group of rootless and bored young couples who spend much of their time in idle chatter, empty boasting, drinking, playing cards, intriguing or simply sitting around. The arrival of Jorgos, a guest worker from Greece, leads to a growing curiosity on the part of the women and the antagonism among the men living in a suburban block of apartments in Munich.<ref>{{harv|Thomsen|2004|p=80}}</ref> This kind of social criticism, featuring alienated characters unable to escape the forces of oppression, is a constant throughout Fassbinder's oeuvre. ''Katzelmacher'' was adapted from Fassbinder's first produced play – a short piece that was expanded from forty minutes to feature length, moving the action from a country village to Munich and delaying the appearance of Jorgos.<ref>{{harv|Thomsen|2004|p=79}}</ref>

====''Gods of the Plague'' (1970)====
''[[Gods of the Plague]]'' (''Götter der Pest'') is a bleak gangster film with a winter setting, shot mostly indoors and at night. The character of Franz (from Fassbinder's first film, but now played by [[Harry Baer]]) is released from prison, but falls back with the wrong crowd. He teams up with his best friend, a black Bavarian criminal who killed his brother, to raid a supermarket. Both men are betrayed by Franz's jilted lover Joanna who tips off the police. Franz is killed, and the film ends at his laconic funeral.<ref>{{harv|Watson|1996|p=72}}</ref>

Similar in plot and characters to both ''Love is Colder than Death'' (1969) and ''The American Soldier'' (1970), ''Gods of the Plague''{{'}}s theme of homoerotic love would reappear repeatedly in the director's films.<ref>{{harv|Watson|1996|p=73}}</ref>

====''Why Does Herr R. Run Amok?'' (1970)====
The last of the four films Fassbinder shot in 1969, was his first in color, ''[[Why Does Herr R. Run Amok?]]'' ''(Warum läuft Herr R. Amok?)''. It was co-directed by [[Michael Fengler]] (the friend who had been his cameraman on the short film ''The little Chaos'' in 1967). Only the outlines of the scenes were sketched by Fassbinder. Fengler and the cast then improvised the dialogue. Fassbinder asserted that this was really Fengler's work rather than his. Nevertheless, the two were jointly given a directorial award for the project in the 1971 German Film prize competition, and ''Why Does Herr R. Run Amok?'' has always been considered among Fassbinder's films.<ref>{{harv|Watson|1996|p=82}}</ref>

''Why Does Herr R. Run Amok?'' portrays the life of Herr Raab, a technical draughtsman married and with a small child. The pressures of middle-class life take a toll on him. A visit by a woman neighbor occasions the incident that gives the film its title. Irritated by the incessant chat between his wife and her friend while he tries to watch TV, Herr Raab kills the neighbor with a blow to the head with a candle stick and then kills both his wife and their son. Herr Raab is later found hanged in an office restroom.<ref name="Watson 1996 83">{{harv|Watson|1996|p=83}}</ref>

====''The American Soldier'' (1970)====
The main theme of the gangster film ''[[The American Soldier]]'' ''(Der Amerikanische Soldat)'' is that violence is an expression of frustrated love. A sudden frenzied outburst of repressed passion, the revelation of desire and a need for love that has been thwarted and comes too late is central here.<ref>{{harv|Thomsen|2004|p=71}}</ref> The eponymous hit man of the title (actually a German, played by Karl Scheydt) is a cold-blooded contract killer, who returns from [[Vietnam]] to his native Munich, where he is hired by three renegade policemen to do away with a number of undesirables. Eventually he ends up killing the girlfriend of one of the policemen with his friend Franz Walsh (Fassbinder). The film closes with the music of the song "So much tenderness", written by Fassbinder and sung by Gunther Kaufmann. ''The American Soldier'' is the third and final installment of Fassbinder's loose trilogy of gangster pictures formed by ''Love is Colder Than Death'' and ''Gods of the Plague''. It pays homage to the Hollywood gangster genre, and also alludes to [[Southern Gothic]] race narratives.

====''The Niklashausen Journey'' (1970)====
In ''{{Interlanguage link multi|Niklashauser Fart|de|3=Niklashauser Fart|lt=The Niklashausen Journey}}'' (''Die Niklashauser Fahrt''), Fassbinder co-writes and co-directs with Michael Fengler. This avant-garde film, commissioned by the WDR television network, was shot in May 1970 and it was broadcast in October the same year.<ref name="Watson 87">{{harv|Watson|1996|p=87}}</ref>''The Niklashausen Journey'' was loosely based on the real-life of Hans Boehm, a shepherd who in 1476 claimed that the Virgin Mary called him to foment an uprising against the church and upper classes. Despite a temporary success, Boehm's followers were eventually massacred and he was burned at the stake.<ref name="Watson 87"/> Fassbinder's intention was to show how and why revolutions fail.<ref name="Iden 129">{{harv|Iden|1981|p=129}}</ref> His approach was to compare the political and sexual turmoil of feudal Germany with that of the contraculture movement and the [[protests of 1968]]. Fassbinder did not clarify the time frame of the action, mixing medieval elements (including some costumes, settings, speech and music) with those from other time periods, like the Russian Revolution, the [[Rococo]] period, postwar Germany and the [[Third World]].<ref name="Iden 129"/>

''The Niklashausen Journey'', influenced by [[Jean-Luc Godard]]'s ''[[Weekend (1967 film)|Weekend]]'' and [[Glauber Rocha]]'s ''[[Antonio das Mortes]]'', consists of only about a dozen or so scenes, most of which are either theatrical tableaux where there is no movement of the characters and the camera darts from speaker to speaker or are shots where characters pace back and forth while giving revolutionary speeches about Marxist struggles and debates on economic theories.<ref name="Watson 88">{{harv|Watson|1996|p=88}}</ref>

====''Whity'' (1970)====
Set in 1876, ''[[Whity (film)|Whity]]'' centers on the title character, a [[mulatto]] who works as the obsequious servant in the mansion of a dysfunctional family in the American South. He is the illegitimate son of the family patriarch and the black cook. Whity tries to carry out all their orders, however demeaning until several of the family members ask him to kill some of the others. He eventually kills them all and runs away to the desert with a prostitute from the local bar.

The film was shot in [[Almeria]], [[Spain]], in widescreen, on locations built for the Westerns made by [[Sergio Leone]]. Its production was particularly traumatic for cast and crew. ''Whity'', a mixture of Euro-western and American South melodrama, was badly received by the critics and became Fassbinder's biggest flop. The film was neither picked up for theatrical release, nor was there interest for broadcasting it on television. As a result, ''Whity'' was only seen as its premiere. It remained unavailable until the 1990s, when it began to be screened; now, like almost all of Fassbinder's films, it is available on [[DVD]].

====''Rio das Mortes'' (1971)====
A whimsical comedy, ''[[Rio das Mortes (film)|Rio das Mortes]]'' follows two young men without prospects who try to raise money in order to realize their dream of finding a buried treasure in [[Peru]] using a map of the [[Rio das Mortes]]. The girlfriend of one of them finds the notion stupid and wants to put a stop to it, but eventually the two friends find a patroness to finance their adventure.<ref>{{harv|Sandford|1982|p=72}}</ref>

Based on an idea by [[Volker Schlondorff]], ''Rio das Mortes'' was shot in January 1970 following ''[[Why Does Herr R. Run Amok?]]'',<ref name="Watson 1996 83"/> but was broadcast on television a year later in February 1971.<ref>{{harv|Watson|1996|p=294}}</ref> The film feels casually constructed; the humor is bland and the plot has been criticized for its sloppiness and poor character development.<ref>{{cite web |url=https://jclarkmedia.com/fassbinder/fassbinder08.html |title=Fassbinder's Rio das Mortes |last=Clark |first=Jim |date=7 December 2002 |publisher=jclarkmedia.com |access-date=21 June 2013 |url-status=dead |archive-url=https://web.archive.org/web/20130222082657/http://jclarkmedia.com/fassbinder/fassbinder08.html |archive-date=22 February 2013}}</ref><ref name="Thomsen 86">{{harv|Thomsen|2004|p=86}}</ref> ''Rio das Mortes'' is best remembered for a scene unrelated to the plot, as the girlfriend, played by Schygulla, dances to [[Elvis Presley]]'s "[[Jailhouse Rock (song)|Jailhouse Rock]]" on the jukebox in the company of an oafish leather-jacketed youth, played by Fassbinder.<ref name="Thomsen 86"/>

====''Pioneers in Ingolstadt'' (1971)====
''[[Pioneers in Ingolstadt]]'' ''(Pioniere in Ingolstadt)'' was adapted from an [[Pioneers in Ingolstadt|eponymous]] play by [[Marieluise Fleißer]] written in 1927.<ref name="Sandford 74">{{harv|Sandford|1982|p=74}}</ref> It follows two young women whose lives are transformed when army engineers (the pioneers of the title) arrive to their town to build a bridge. One of the women flirts from soldier to soldier, but her friend falls in love only to be abandoned.<ref name="Thomsen 97">{{harv|Thomsen|2004|p=97}}</ref>

Shot in November 1970, ''Pioneers in Ingolstaldt'' was commissioned for television. Fassbinder wanted to bring the plot from the 1920s to contemporary Germany, but the producers, fearing to offend the German army, refused. A compromise did not satisfy any of the parties, and midway through the project Fassbinder lost interest in it.<ref name="Sandford 74"/> The film suffered as a consequence, and it ranks among Fassbinder's weakest films.<ref name="Watson 88"/><ref name="Sandford 75">{{harv|Sandford|1982|p=75}}</ref><ref name="Thomsen 95">{{harv|Thomsen|2004|p=95}}</ref>

The tensions and bitterness that had surrounded the making of ''Whity'' led Fassbinder to dismantle the collective project of the Anti-Theater as a production company. Instead, he founded his own production company: Tango films.<ref name="Sandford 75"/> ''Pioneers in Ingolstadt'', although broadcast before the theatrical release of ''Beware of a Holy Whore'', was the last film made by Fassbinder during his formative period. In the following year, 1971, Fassbinder shot only one film: ''The Merchant of Four Seasons''.<ref name="Sandford 75"/><ref>{{harv|Hayman|1984|p=IX}}</ref><ref>{{harv|Lorenz|Schmid|Gehr|1997|p=326}}</ref><ref>{{harv|Thomsen|2004|p=326}}</ref>

====''Beware of a Holy Whore'' (1971)====
''[[Beware of a Holy Whore]]'' was based, like many of Fassbinder's films, on a personal experience – the shooting of his earlier film, the revisionist western ''Whity'' (1970). The film shows an egomaniacal director, beset by a stalled production, temperamental actors, and a frustrated crew. When asked what the movie he is making is about, he replies: "brutality." The film ends with a typical Fassbinder-esque irony, as the crew gang up on the director. ''Beware of a Holy Whore'' marked the end of Fassbinder's avant-garde period. It presented such an embittered and radical self-critique that his future films would have to be quite different from the ones made before. After spinning out ten films in not much more than a year (this film was shot only a few months after ''Whity'') in a frenzied burst of creativity, his anti-film anti-theater drive seemed to conclude.

===German melodramas (1971–1975)===
After ''Pioneers in Ingolstadt'', Fassbinder took an eight-month break from filmmaking. During this time, he turned for a model to Hollywood melodrama, particularly the films German émigré [[Douglas Sirk]] made in Hollywood for [[Universal Studios|Universal-International]] in the 1950s: ''[[All That Heaven Allows]]'', ''[[Magnificent Obsession (1954 film)|Magnificent Obsession]]'' and ''[[Imitation of Life (1959 film)|Imitation of Life]]''. Fassbinder was attracted to these films not only because of their entertainment value, but also for their depiction of various kinds of repression and exploitation.

====''The Merchant of Four Seasons'' (1971)====
Fassbinder scored his first domestic commercial success with ''[[The Merchant of Four Seasons]]'' (''Händler der vier Jahreszeiten'', 1971).<ref>{{harv|Watson|1996|p=117}}</ref> The film portrays a married couple who are fruit sellers. Hans faces rejection from his family after he violently assaults his wife for not bending to his will. She leaves him, but after he suffers a heart attack they reunite, though he now has to employ other men. His restricted ability to function leads him to ponder his own futility. He literally drinks himself to death.

''The Merchant of Four Seasons'' uses melodrama as a style to create critical studies of contemporary German life for a general audience. It was Fassbinder's first effort to create what he declared he aspired to: a cinematic statement of the human condition that would transcend national boundaries as the films of [[Michelangelo Antonioni]], [[Ingmar Bergman]] and [[Federico Fellini]] had done.<ref name="Pipolo">{{harv|Pipolo|2004|pp=18–25}}</ref> It is also his first realization of what he learned from Sirk: that people, however small they may be, and their emotions, however insignificant they may seem, could be big on the movie screen.<ref name="Pipolo"/>

====''The Bitter Tears of Petra von Kant'' (1972)====
Loneliness is a common theme in Fassbinder's work, together with the idea that power becomes a determining factor in all human relationships. His characters yearn for love, but seem condemned to exert an often violent control over those around them. A good example is ''[[The Bitter Tears of Petra von Kant]]'' (''Die bitteren Tränen der Petra von Kant'', 1972) which was adapted by Fassbinder from his plays. The title character is a fashion designer who lives in a self-created dreamland and the action is restricted mostly to her lavish bedroom. After the failure of her second marriage, Petra falls hopelessly and obsessively in love with Karin, a cunning young working-class woman who wants a career in modeling. The model's exploitation of Petra mirrors Petra's extraordinary psychological abuse of her silent assistant, Marlene. Fassbinder portrays the slow meltdown of these relationships as inevitable, and his actresses (there are no men in the film) move in a slow, trance-like way that hints at a vast world of longing beneath the beautiful, brittle surface.

====''Jailbait'' (1973)====
''{{Interlanguage link multi|Wildwechsel|de|3=Wildwechsel (Film)|lt=Jailbait}}'' (''Wildwechsel'', 1973), also known as ''Wild Game Crossing'', is a bleak story of teenage angst, set in industrial northern Germany during the 1950s. Like in many other of his films, Fassbinder analyses lower middle class life with characters who, unable to articulate their feelings, bury them in inane phrases and violent acts.<ref>{{harv|Watson|1996|p=118}}</ref> Love turns into a power struggle of deception and betrayal. The story centers on Hanni, a precocious 14-year-old schoolgirl who starts a relationship with Franz, a 19-year-old worker in a chicken processing plant. Their romance faces the opposition of the girl's conservative parents. Franz is sentenced to nine months in prison for having sex with a minor. When he is released on probation, they continue their relationship and Hanni becomes pregnant. Afraid of her father's anger, she persuades Franz to kill him. Back in prison, Franz is told by Hanni that their child died at birth and that their love was "only physical".<ref>{{harv|Thomsen|2004|p=120}}</ref>

Originally made for German television, ''Jailbait'' was based on a play by [[Franz Xaver Kroetz]], who violently disagreed with Fassbinder's adaptation, calling it pornographic.<ref>{{harv|Watson|1996|p=119}}</ref> The luridness of its theme furthered the controversy.

====''World on a Wire'' (1973)====
His only [[science fiction film]], ''[[World on a Wire]]'' (''Welt am Draht'', 1973), was a departure for Fassbinder. An adaptation of the pulp sci-fi novel ''[[Simulacron-3]]'' by [[Daniel F. Galouye]], it was made as a two-part, 205 minute production for television using [[16mm film]] stock during a hiatus from the lengthy production of ''Effi Briest'' and in the same year as ''Martha'' and ''Ali: Fear Eats the Soul''.

A story of realities within realities, ''World on a Wire'' follows a researcher, working at the institute of [[cybernetics]] and future science, who begins to investigate the mysterious death of his mentor. He falls deep into the cover up behind a computer capable of creating an artificial world with units living as human beings unaware that their world is just a computer projection. Made in contemporary Paris, the film was stylistically inspired by [[Jean-Luc Godard]]'s ''[[Alphaville (film)|Alphaville]]'' (1965) and in its theme of artificial humans wanting to reach real life anticipated [[Ridley Scott]]'s ''[[Blade Runner]]'' (1982).<ref name="Thomsen 136">{{harv|Thomsen|2004|p=136}}</ref>

====''Ali: Fear Eats the Soul'' (1974)====
Fassbinder first gained international success with ''[[Ali: Fear Eats the Soul|Fear Eats the Soul]]'' (''Angst essen Seele auf'', 1974). This film was shot in 15 days in September 1973 with a very low budget, ranking among Fassbinder's quickest and cheapest. Nevertheless, the impact on Fassbinder's career and in overseas release remains cemented as a great and influential work. It won the International Critics Prize at [[Cannes Film Festival|Cannes]] and was acclaimed by critics everywhere as one of 1974's best films.

''Fear Eats the Soul'' was loosely inspired by Sirk's ''All That Heaven Allows'' (1955). It details the vicious response of family and community to a lonely aging white cleaning lady who marries a muscular, much younger black Moroccan immigrant worker. The two are drawn to each other out of mutual loneliness. When their relationship becomes known, they experience various forms of hostility and public rejection. Gradually, their relationship is tolerated, not out of real acceptance, but because those around the good-hearted old lady realize their ability to exploit her is threatened. As the external pressures over the couple begin to subside, internal conflicts surface.

====''Martha'' (1974)====
Fassbinder's main characters tend to be naifs, either men or women, who are rudely, sometimes murderously, disabused of their romantic illusions. Shot on 16mm film and made for television, ''[[Martha (1974 film)|Martha]]'' (1974) is a melodrama about cruelty in a traditional marriage.

The plot focuses on the title character, a spinster librarian. Soon after the death of her father while on vacation in [[Rome]], Martha meets a wealthy civil engineer, who sweeps her off her feet. They encounter each other again at a wedding in her hometown of [[Konstanz (district)|Constance]] and soon marry. However, their married life becomes an exercise for her husband to express his sadism and for Martha to endure her masochism. Her husband shows his desire for her violently, leaving marks on her body. He obsessively controls her life, her diet, her taste in music and her interests, until she is confined to their house. Martha's initially positive wish to be liked by her oppressive and abusive husband pushes her to such an extreme that she becomes deranged, leading to her own permanent physical paralysis.

====''Effi Briest'' (1974)====
''[[Effi Briest (1974 film)|Effi Briest]]'' was Fassbinder's dream film and the one in which he invested the most work. While he normally took between nine and 20 days to make a film, this time it required 58 shooting days, dragged out over two years.<ref name="Thomsen 145">{{harv|Thomsen|2004|p=145}}</ref> The film is a period piece adapted from [[Theodor Fontane]]'s classic [[Effi Briest|novel]] of 1894, concerning the consequences of betrayed love. Set in the closed, repressive Prussian society of the [[Otto von Bismarck|Bismarck]] era, the film paints a portrait of a woman's fate completely linked to an unbending and utterly unforgiving code of social behavior. The plot follows the story of Effi Briest, a young woman who seeks to escape her stifling marriage to a much older man by entering into a brief affair with a charming soldier. Six years later, Effi's husband discovers her affair with tragic consequences.

The film served as a showpiece for Fassbinder's muse and favorite actress [[Hanna Schygulla]], whose detached acting style fitted the roles the director created for her. Fassbinder made her a star, but artistic differences while making ''Effi Briest'' created a split that lasted for some years, until Fassbinder called her back to take the role of Maria Braun.

====''Like a Bird on a Wire'' (1975)====
''Like a Bird on a Wire'' (''Wie ein Vogel auf dem Draht'') is a forty-minute television production featuring [[Brigitte Mira]], the main actress in ''Fear eats the Soul'', singing cabaret songs and love ballads from the 1940s and 1950s. Between songs, she drinks and talks about her husbands. The title is borrowed from [[Leonard Cohen]]'s song "[[Bird on the Wire]]", with which the program ends.

Fassbinder considered this project "an attempt to do a show about the [[Konrad Adenauer|Adenauer era]]. For us it certainly wasn't entirely successful. But the film does reveal the utter repulsiveness and sentimentality of the time" he explained.<ref>{{harv|Kardish|Lorenz|1997|p=57}}</ref>

====''Fox and His Friends'' (1975)====
Many of Fassbinder's films deal with homosexuality, in keeping with his interest in characters who are social outsiders, but he drew away from most representations of homosexuals in films. In an interview at the 1975 [[Cannes Film Festival]], Fassbinder said about ''[[Fox and His Friends]]'': "It is certainly the first film in which the characters are homosexuals, without homosexuality being made into a problem. In films, plays or novels, if homosexuals appear, the homosexuality was the problem, or it was a comic turn. But here homosexuality is shown as completely normal, and the problem is something quite different, it's a love story, where one person exploits the love of the other person, and that's the story I always tell".<ref name="Thomsen
181">{{harv|Thomsen|2004|p=181}}</ref>

In ''Fox and His Friends'' (''Faustrecht der Freiheit'', 1974) a sweet but unsophisticated working-class homosexual wins the lottery and falls in love with the elegant son of an industrialist. His lover tries to mold him into a gilt-edged mirror of upper-class values, all the while appropriating Fox's lottery winnings for his own ends. He ultimately destroys Fox's illusions, leaving him heartbroken and destitute.

Fassbinder worked within the limits of Hollywood melodrama, though the film is partially based on the plight of his then lover Armin Meier (to whom the film is dedicated). The film is notable for Fassbinder's performance as the unlucky Fox, in a self-directed starring role.

''Fox and His Friends'' has been deemed homophobic by some and overly pessimistic by others.<ref name="Thomsen 182">{{harv|Thomsen|2004|p=182}}</ref> The film's homosexuals are not, surprisingly, any different from the film's equally lecherous heterosexuals. The film's pessimism is far outweighed by Fassbinder's indictment of Fox as an active participant in his own victimization, a familiar critique found in many of the director's films.

====''Mother Küsters Goes to Heaven'' (1975)====
In ''[[Mother Küsters Goes to Heaven]]'' (''Mutter Küsters Fahrt zum Himmel''), a [[melodrama]], Emma Küsters becomes the center of media and political attention after her husband, a factory worker, killed his supervisor or his supervisor's son and then himself when lay offs were announced. The film drew on both Sirk's melodramas and Weimar-era workers' films, connecting the genres to tell a political coming-of-age story about Mother Küsters, who seeks to understand what led to her husband's actions and how to respond.<ref>{{cite journal |last=Gerhardt |first=Christina |title=Fassbinder's Mothers Küsters Goes to Heaven in a Genealogy of the Arbeiterfilme |journal=[[Film Criticism]] |url=http://quod.lib.umich.edu/f/fc/13761232.0041.109?view=text;rgn=main |date=28 June 2017 |volume=41 |issue=1 |doi=10.3998/fc.13761232.0041.109 |access-date=28 June 2017|doi-access=free }}</ref> The film is very critical of the era's politics and media, as the people to whom Emma Küsters turns all exploit her and her experience. The media, communists, anarchists and even her own family members all take advantage of Mother Küsters's tragedy to advance their own agendas.

===='' Fear of Fear'' (1975)====
Made for German television, ''{{Interlanguage link multi|Angst vor der Angst|de|3=Angst vor der Angst|lt=Fear of Fear}}'' (''Angst vor der Angst'') is a physiological drama about a middle-class housewife, locked into a dull life with a distracted husband, two small children, and openly hostile in-laws. She becomes addicted to [[valium]] and alcohol overwhelmed by an irrational anxiety and fear of her inexorable descent into madness.

''Fear of Fear'' is similar in theme to ''Martha'', which also portrays the effect of a dysfunctional marriage in an oppressed housewife, the central role was again played by [[Margit Carstensen]].

====''I Only Want You to Love Me'' (1976)====
''[[I Only Want You To Love Me]]'' (''Ich will doch nur, daß ihr mich liebt'', 1976) tells the story of Peter, a construction worker in jail for manslaughter. His life is recounted in a series of flashbacks. A hard working man, Peter spends his spare time building a house for his cold unloving parents. He marries and finds a job in another city, but in his desperate yearning for affection he tries to buy the love of those around him with expensive gifts which soon makes him fall into a spiral of debt. When he sees his own unrequited love for his parents reflected during an argument in a bar, he kills a man who serves as a proxy for his father.

The film was made for television and shot during a pause while making ''Satan's Brew''. Based on a true account taken from ''For Life'', a book of interviews edited by Klaus Antes and Christiane Erhardt, it was Fassbinder's personal reflections on childhood and adolescence.{{citation needed|date=June 2015}}

====''Satan's Brew'' (1976)====
In a time of professional crisis, Fassbinder made ''[[Satan's Brew]]'' (''Satansbraten'', 1976) a bleak amoral comedy that pays homage to [[Antonin Artaud]]'s [[theatre of cruelty]]. Stylistically far from the melodramas that made him known internationally, ''Satan's Brew'' gave way to a new phase in his career. In ''Satan's Brew'', a neurotic poet suffering from writer's block struggles to make ends meet while dealing with a frustrated long suffering wife, a half witted brother and various prostitutes and masochist women who drift in and out of his life. He convinces himself to be the reincarnation of the gay romantic poet [[Stefan George]] (1868–1933) after he plagiarizes his poem ''The Albatros''.<ref>{{Cite web|url=https://brightlightsfilm.com/a-german-tragedy-turned-absurd-fassbinders-satans-brew/|title=A German Tragedy, Turned Absurd: Fassbinder's Satan's Brew|date=1 February 2010|website=Bright Lights Film Journal|language=en-US|access-date=10 April 2019}}</ref>

===International films (1976–1982)===
Enthusiasm for Fassbinder's films grew quickly after ''Fear Eats the Soul''. [[Vincent Canby]] paid tribute to Fassbinder as "the most original talent since Godard". In 1977, the New Yorker Theater in Manhattan held a Fassbinder Festival.

However, as enthusiasm for Fassbinder grew outside of Germany, his films still failed to impress the native audience. At home, he was better known for his television work and for his open homosexuality. Coupled with the controversial issues of his films — terrorism, [[state violence]], [[racism]], sexual politics — it seemed that everything Fassbinder did provoked or offended someone.

After completing in 1978 his last low-budget and very personal ventures (''[[In a Year of 13 Moons]]'' and ''[[The Third Generation (1979 film)|The Third Generation]]'') he would concentrate on making films that were becoming increasingly garish and stylized. However, his TV series ''Berlin Alexanderplatz'' was a naturalistic adaptation of the two-volume novel by [[Alfred Döblin]], which Fassbinder had read many times.

====''Chinese Roulette'' (1976)====
''[[Chinese Roulette]]'' (''Chinesisches Roulette'') is a gothic thriller with an ensemble cast. The film follows a twelve-year-old crippled girl, Angela, who, due to her parents' lack of affection, arranges an encounter between them with their respective lovers at the family country estate. The film climaxes with a truth-guessing game. The players divide into two teams, which take it in turn to pick out one member of the other side and ask them question about people and objects. The game is played at the suggestion of Angela, who plays against her mother. When the mother asks: "In the [[Third Reich]], what would that person have been?", Angela's answer is "Commandant of the [[concentration camp]] at [[Bergen Belsen]]"; it is her mother she is describing.<ref name="Hayman, 142">{{harv|Hayman|1984|p=142}}</ref>

====''The Stationmaster's Wife'' (1977)====
There are no happy endings in Fassbinder's films. His protagonists, usually weak men or women with masochistic tendencies, pay a heavy price for their victimization. ''{{Interlanguage link multi|Bolwieser|de|3=Bolwieser|lt=The Stationmaster's Wife}}'' (''Bolwieser'') is based on a 1931 novel, ''Bolwieser: The Novel Of a Husband'' by the Bavarian writer [[Oskar Maria Graf]]. The plot follows the downfall of Xaver Bolwieser, a railway stationmaster submitted to the will of his domineering and unfaithful wife, whose repeated infidelities completely ruin Bolwieser's life. Broadcast initially as a two-part television series, ''The Stationmaster's Wife'' was shortened to a 112-minute feature film and released in the first anniversary of Fassbinder's death. The film stars [[Kurt Raab]], Fassbinder's close friend whom the director usually cast as a pathetic man. Raab was also set designer of Fassbinder's films until their friendship and professional relationship broke up after making this film.<ref>{{harv|Watson|1996|pp=206–207}}</ref>

====''Germany in Autumn'' (1978)====
''[[Germany in Autumn]]'' ''(Deutschland im Herbst)'' is an [[omnibus film]], a collective work of eight German filmmakers including Fassbinder, [[Alf Brustellin]], [[Volker Schlöndorff]], [[Bernhard Sinkel]] and [[Alexander Kluge]], the main organizer behind the project. They took a look at the wave of guilt and paranoia that afflicted [[West Germany]]'s society and its authorities in the months between the kidnapping and murder of industrialist [[Hanns Martin Schleyer]] by [[Red Army Faction]] members and the deaths of [[Andreas Baader]], [[Gudrun Ensslin]] and [[Jan-Carl Raspe]] in [[Stammheim Prison]]. The film is a document about terrorism and its sociopolitical aftermath. It begins with Schleyer's wake, a segment filmed by Alexander Kluge and Volker Schlöndorff, and it ends with the tumultuous joint funeral of Baader, Ensslin, and Raspe in Stuttgart.

====''Despair'' (1978)====
Fassbinder made three films in [[English language|English]], a language in which he was not proficient: ''[[Despair (film)|Despair]]'' (1978), ''Lili Marleen'' (1980) and ''Querelle'' (1982). All three films have international actors and are very ambitious, yet each faced artistic and commercial problems.<ref>{{harv|Thomsen|2004|p=34}}</ref>
''Despair'' is based upon the 1936 [[Despair (novel)|novel of the same name]] by [[Vladimir Nabokov]], adapted by [[Tom Stoppard]] and featuring [[Dirk Bogarde]]. It was made on a budget of 6,000,000 [[Deutsche Mark|DEM]], exceeding the total cost of Fassbinder's first 15 films.

''[[Despair (film)|Despair – A journey into the Light]]'' (''Despair – Eine Reise ins Licht'') tells the story of Hermann Hermann, an unbalanced Russian émigré and chocolate magnate, whose business and marriage have both grown bitter. The factory is close to bankruptcy, and his vulgar wife is chronically unfaithful. He hatches an elaborate plot to take a new identity in the belief it will free him of all his worries. The story of Hermann's descent into madness is juxtaposed against the rise of [[National Socialism]] in the Germany of the 1930s.

====''In a Year of Thirteen Moons'' (1978)====

''[[In a Year of Thirteen Moons]]'' (''In einem Jahr mit 13 Monden'', 1978) is Fassbinder most personal and bleakest work. The film follows the tragic life of Elvira, a [[transsexual]] formerly known as Erwin. In the last few days before her suicide, she decides to visit some of the important people and places in her life. In one sequence, Elvira wanders through the slaughterhouse where she worked as Erwin, recounting her history amid the meat-hooked corpses of cattle whose slit throats rain blood onto the floor.<ref>{{harv|Thomsen|2004|p=257}}</ref> In another scene, Elvira returns to the orphanage where she was raised by [[nun]]s and hears the brutal story of her childhood. Fassbinder's camera tracks the nun (played by his mother) telling Elvira's story; she moves with a kind of military precision through the grounds, recounting the story in blazing detail, unaware that Elvira had collapsed and can no longer hear it.

''In a Year of Thirteen Moons'' was explicitly personal, a reaction to his former lover Armin Meier's suicide.<ref>{{harv|Thomsen|2004|p=255}}</ref> In addition to writing, directing, and editing, Fassbinder also designed the production and worked as the cameraman. When the film played in the New York Film Festival in October 1979, critic [[Vincent Canby]] (who championed Fassbinder's work in the United States) wrote, "Its only redeeming feature is genius."<ref>{{cite news|url=https://www.nytimes.com/movie/review?res=9C02E6D71438E432A2575BC0A9669D946890D6CF|title=In a Year of 13 Moons (1978) Film: Fassbinder's 'Year of 13 Moons': Unalterable Condition|last=Canby|first=Vincent|date=18 October 1979|newspaper=nytimes.com}}</ref>

====''The Marriage of Maria Braun'' (1979)====

With ''[[The Marriage of Maria Braun]]'' (''Die Ehe der Maria Braun''), his greatest success, Fassbinder finally attained the popular acceptance he sought with German audiences. The title character is an ambitious and strong willed woman separated from her husband towards the end of World War II. The plot follows Maria Braun's steady rise as a successful business woman during the [[Konrad Adenauer|Adenauer]] era. Maria's dream of a happy life with her husband remains unfulfilled. Her professional achievements are not accompanied by personal happiness.<ref>{{harv|Watson|1996|p=209}}</ref> The film, constructed in the Hollywood tradition of "women's pictures" presenting a woman overcoming hardships, serves also as a parable of the West Germany economic miracle embodied in the character of Maria Braun. Her story of manipulation and betrayal parallels Germany's spectacular postwar economic recovery in terms of its cost in human values.<ref>{{harv|Watson|1996|p=243}}</ref>

The film was the first part of a trilogy centered on women during the post-war "[[Wirtschaftswunder|economic miracle]]" which was completed with ''[[Lola (1981 film)|Lola]]'' (1981) and ''[[Veronika Voss]]'' (1982).

====''The Third Generation'' (1979)====
The economic success of ''The Marriage of Maria Braun'' allowed Fassbinder to pay his debts and to embark on a personal project, ''[[The Third Generation (1979 film)|The Third Generation]]'' (''Die Dritte Generation'', 1979), a black comedy about terrorism. Fassbinder found financial backing for this film difficult to acquire and it was ultimately made on a small budget and borrowed money.<ref>{{harv|Watson|1996|p=164}}</ref> As he did with ''In a Year of Thirteen Moons'', Fassbinder worked again as the film's cameraman.<ref>{{harv|Thomsen|2004|p=263}}</ref>

The film concerns a group of aspiring terrorists from leftist bourgeois backgrounds who kidnap an industrialist during carnival season unaware that they have been manipulated by the capitalist and the authorities whose hidden agenda is for terrorism to create a demand for security hardware and to gain support for harsher security measures. The actions of the ineffectual cell of underground terrorists are overlaid with a soundtrack filled with newscast, voiceovers, music and gibberish. The political theme of the film aroused controversy.{{citation needed|date=June 2015}}

====''Berlin Alexanderplatz'' (1980)====
Returning to his explorations of German history, Fassbinder finally realized his dream of adapting [[Alfred Döblin]]'s 1929 novel ''[[Berlin Alexanderplatz]]''. A [[Berlin Alexanderplatz (television)|television series]] running more than 13 hours, with a two-hour coda (released in the U.S. as a 15-hour feature), it was the culmination of the director's inter-related themes of love, life, and power.<ref>{{Cite journal|url=http://www.nybooks.com/articles/2008/01/17/the-genius-of-berlin/|title=The Genius of Berlin|last=Buruma|first=Ian|journal=The New York Review of Books|date=17 January 2008|access-date=16 February 2017}}</ref>

''Berlin Alexanderplatz'' centers on Franz Biberkopf, a former convict and minor pimp, who tries to stay out of trouble but is dragged down by crime, poverty and the duplicity of those around him. His best friend, Reinhold, makes him lose an arm and murders Franz' prostitute girlfriend, Mieze. The love triangle of Franz, Reinhold and Mieze is staged against the rising tide of Nazism in Germany. The film emphasized the sadomasochist relationship between Biberkopf and Reinhold stressing its homoerotic nature. Fassbinder had read the book at age 14; later claiming that it helped him survive a "murderous puberty". The influence of Döblin's novel can be seen in many of Fassbinder's films most of whose protagonists are named Franz, some with the surname Biberkopf like the naïve working class lottery winner in ''Fox and His Friends'', who is played by Fassbinder. He also took the pseudonym of Franz Walsch for his work as editor on his own films: Walsch was an oblique homage to director [[Raoul Walsh]].{{citation needed|date=June 2015}}

====''Lili Marleen'' (1981)====
Fassbinder took on the [[Nazi]] period with ''[[Lili Marleen (film)|Lili Marleen]]'', an international co production, shot in English and with a large budget. The script was vaguely based on the autobiography of [[World War II]] singer [[Lale Andersen]], ''The Sky Has Many Colors''.<ref>{{harv|Watson|1996|p=215}}</ref> The film is constructed as a big, tear-jerking [[Hollywood]] [[melodrama]] in its depiction of the unfulfilled love story between a German variety singer separated by the war from a Swiss Jewish composer. Central to the story is the [[Lili Marleen|song]] that gives the film its title.{{citation needed|date=June 2015}}

Fassbinder presents the period of the [[Third Reich]] as a predictable development of German history that was staged as spectacle supported by hate. Filmed with a morbid nostalgia for [[swastika]]s, showbiz glitz and as a cloak-and-dagger romance, the main theme of ''Lili Marleen'' is the question: is it morally justifiable to survive under National Socialism, as the naïve singer does by having a successful career?<ref>{{harv|Thomsen|2004|p=295}}</ref>

====''Theater In Trance'' (1981)====

''Theater In Trance'' is a documentary which Fassbinder shot in Cologne in June 1981 at the "Theaters of the World" Festival. Over scenes from groups such as the [[Squat Theatre]] and the [[Pina Bausch|Tanztheater Wuppertal Pina Bausch]] Fassbinder spoke passages from [[Antonin Artaud]] as well as his own commentary.<ref>{{cite web|url=http://www.kinowelt-international.de/detail_v3.php?lang=en&kid=009561_1_1&CID=b3e62c9a68f6952c56ed2b6eba5224cc|title=Theatre In Trance|publisher=kinowelt-international.de}}</ref>

====''Lola'' (1981)====
''[[Lola (1981 film)|Lola]]'' tells the story of an upright, new building commissioner who arrives in a small town. He falls in love with Lola, innocently unaware of the fact that she is a famed prostitute and the mistress of an unscrupulous developer. Unable to reconcile his idealistic image of Lola with reality, the commissioner spirals into the very corruption he had sought to fight out.

====''Veronika Voss'' (1982)====
Fassbinder won the [[Golden Bear]] at the [[32nd Berlin International Film Festival]] for ''[[Veronika Voss]]''.<ref>{{cite web|url=http://www.berlinale.de/en/archiv/jahresarchive/1982/03_preistr_ger_1982/03_Preistraeger_1982.html|title=Prizes & Honours 1982|publisher=berlinale.de|language=de|access-date=14 November 2010}}</ref> The original German title, ''Die Sehnsucht der Veronika Voss'', translates as "The longing of Veronika Voss". Set in the 1950s, the film depicts the twilight years of the title character, a faded Nazi starlet. A sports reporter becomes enthralled by the unbalanced actress and discovers that she is under the power of a villainous doctor who supplies her with the drugs she craves so long as she can pay the exorbitant fee. Despite the reporter's best attempts, he is unable to save her from a terrible end.<ref>{{harv|Watson|1996|p=221}}</ref>

====''Querelle'' (1982)====
Fassbinder did not live to see the premiere of his last film, ''[[Querelle]]'', based on [[Jean Genet]]'s novel ''[[Querelle of Brest|Querelle de Brest]]''.<ref>{{harv|Watson|1996|p=256}}</ref> The plot follows the title character, a handsome sailor who is a thief and hustler. Frustrated in a homoerotic relationship with his own brother, Querelle betrays those who love him and pays them even with murder.
==Personal life==
[[File:Ritrat ad Rainer Werner Fassbinder SW.svg|thumb|upright|[[Digital art]] depicting Rainer Werner Fassbinder]]
Fassbinder had [[Bisexuality|sexual relationships with both men and women]]. He rarely kept his professional and personal life separate, and was known to cast family, friends and lovers in his films. Early in his career he had a lasting but fractured relationship with [[Irm Hermann]], a former secretary whom he forced to become an actress.<ref>{{harv|Lorenz|Schmid|Gehr|1997|p=20}}</ref> Fassbinder usually cast her in unglamorous roles, most notably as the unfaithful wife in ''[[The Merchant of Four Seasons]]'' and the silent abused assistant in ''[[The Bitter Tears of Petra von Kant]]''.

[[Irm Hermann]] idolized him, but Fassbinder tormented and tortured her for over a decade.<ref name="Hayman 22">{{harv|Hayman|1984|p=22}}</ref> This included [[domestic violence]]: "He couldn't conceive of my refusing him, and he tried everything. He almost beat me to death on the streets of [[Bochum]] ..."<ref>{{harv|Baer|1986|p=65}}</ref> In 1977, Hermann became romantically involved with another man and became pregnant by him. Fassbinder proposed to her and offered to adopt the child; she turned him down.<ref>{{harv|Hayman|1984|p=24}}</ref>

In 1969, while portraying the lead role in the TV film ''[[Baal (film)|Baal]]'' under the direction of [[Volker Schlöndorff]], Fassbinder met [[Günther Kaufmann]], a black Bavarian actor who had a minor role in the film. Despite the fact that Kaufmann was married and had two children, Fassbinder fell madly in love with him. The two began a turbulent affair which ultimately affected the production of ''Baal''. Fassbinder tried to buy Kaufmann's love by casting him in major roles in his films and buying him expensive gifts.<ref>{{harv|Hayman|1984|p=62}}</ref>

Kaufmann relished the attention and became more demanding. Fassbinder bought him four [[Lamborghini]]s over the period of a year; Kauffmann wrecked one and sold the others if they failed to meet his expectations.<ref>{{harv|Katz|1987|p=46}}</ref> The relationship came to an end when Kaufmann became romantically involved with composer [[Peer Raben]]. After the end of their relationship, Fassbinder continued to cast Kaufmann in his films, albeit in minor roles.<ref name="Watson 94">{{harv|Watson|1996|p=94}}</ref> Kaufmann appeared in 14 of Fassbinder's films, with the lead role in ''[[Whity (film)|Whity]]'' (1971).

Although he claimed to be opposed to matrimony as an institution, in 1970 Fassbinder married [[Ingrid Caven]], an actress who regularly appeared in his films. Their wedding reception was recycled in the film he was making at that time, ''The American Soldier''.<ref>{{harv|Lorenz|Schmid|Gehr|1997|pp=243–244}}</ref> Their relationship of mutual admiration survived the complete failure of their two-year marriage. "Ours was a love story in spite of the marriage", Caven explained in an interview, adding about her former husband's [[sexual orientation|sexuality]]: "Rainer was a homosexual who also needed a woman. It's that simple and that complex."<ref>{{harv|Lorenz|Schmid|Gehr|1997|p=45}}</ref> The three most important women of Fassbinder's life, [[Irm Hermann]], [[Ingrid Caven]] and [[Juliane Lorenz]], his last partner, were not disturbed by his homosexuality.<ref>{{harv|Lorenz|Schmid|Gehr|1997|pp=245–246}}</ref>

In 1971, Fassbinder began a relationship with [[El Hedi ben Salem]], a [[Morocco|Moroccan]] [[Berber people|Berber]] who had left his wife and five children the previous year, after meeting him at a [[gay bathhouse]] in Paris.<ref name="Watson 94"/><ref>{{cite web|url=https://variety.com/2012/film/reviews/my-name-is-not-ali-1117948182/|title=My Name Is Not Ali|last=Harvey|first=Dennis|date=3 September 2012|publisher=variety.com|access-date=13 January 2015}}</ref> Over the next three years, Salem appeared in several Fassbinder productions. His best-known role was as Ali in ''[[Ali: Fear Eats the Soul]]'' (1974). Their three-year relationship was punctuated with jealousy, violence and heavy drug and alcohol use. Fassbinder finally ended the relationship in 1974, due to Salem's chronic alcoholism and tendency to become violent when he drank. Shortly after the breakup, Salem stabbed three people (none fatally) in Berlin and had to be smuggled out of Berlin.<ref>{{harv|Thomsen|2004|p=19}}</ref> Salem eventually made his way to France where he was arrested and imprisoned. He hanged himself while in custody in 1977.<ref name=watson107>{{harv|Watson|1996|p=107}}</ref> News of Salem's suicide was kept from Fassbinder for years.<ref>{{harv|Cappello|2007|p=102}}</ref> He eventually found out about his former lover's death shortly before his own death in 1982 and dedicated his last film, ''[[Querelle]]'', to Salem.<ref name=watson107/>

Fassbinder's next lover was [[Armin Meier (actor)|Armin Meier]]. Meier was a near-illiterate former butcher who had spent his early years in an orphanage.<ref>{{harv|Hayman|1984|p=682}}</ref> He also appeared in several Fassbinder films in this period. A glimpse into their troubled relationship can be seen in Fassbinder's episode for ''Germany in Autumn'' (1978).<ref>{{harv|Thomsen|2004|p=20}}</ref> Fassbinder ended the relationship in April 1978. During the week of Fassbinder's birthday (31 May), Meier deliberately consumed four bottles of sleeping pills and alcohol in the kitchen of the apartment he and Fassbinder had previously shared. His body was found a week later.<ref>{{harv|Silverman|1992|p=214}}</ref>

In the last four years of Fassbinder's life, his companion was Juliane Lorenz (born 1957), the editor of his films during the last years of his life. She can be seen in a small role as the film producer's secretary in ''[[Veronika Voss]]''.<ref>{{harv|Watson|1996|p=222}}</ref> According to Lorenz, they considered getting married but never did so.<ref name="nicodemus"/><ref>{{harv|Lorenz|Schmid|Gehr|1997|p=244}}</ref> Although they were reported as drifting apart in his last year,<ref>{{harv|Thomsen|2004|p=41}}</ref> an accusation Lorenz has denied,<ref>{{cite news |url=https://www.theguardian.com/film/1999/jan/08/features3 |title=The bitter tears of Fassbinder's women |last=Hodgkiss |first=Rosalind |date=8 January 1999|work=theguardian.com}}</ref> they were still living together at the time of his death.<ref name="maslin">{{cite news|url=https://www.nytimes.com/1982/06/11/movies/rainer-werner-fassbinder-36-film-maker-dead.html|title=Rainer Werner Fassbinder, 36, Filmmaker, Dead |last=Maslin |first=Janet |date=11 June 1982 |newspaper=nytimes.com |access-date=13 January 2015}}</ref>

==Controversy==
Media scandals and controversies ensured that in Germany itself Fassbinder was permanently in the news, making calculatedly provocative remarks in interviews. His work often received mixed reviews from the national critics, many of whom only began to take him seriously after the foreign press had hailed him as a major director.<ref>{{harv|Vincendeau|1995|p=138}}</ref>{{incomplete short citation|date=April 2020}}

There were frequent exposés of his lifestyle in the press, and attacks on all sides from the groups his films offended.<ref name="Watson 25">{{harv|Watson|1992|p=25}}</ref> His television series ''[[Eight Hours Don't Make a Day]]'' was cut from eight to five episodes after pressure from conservatives.<ref name="Watson 25"/> The playwright [[Franz Xaver Kroetz]] sued over Fassbinder's adaptation of his play ''Jail Bait'', alleging that it was [[obscenity|obscene]].<ref>{{harv|Watson|1996|pp=17, 119, 130}}</ref> [[Lesbian]]s and [[feminist]]s accused Fassbinder of [[misogyny]] (in presenting women as complicit in their own oppression) in his 'Women's Pictures'.<ref name="Watson 25"/><ref>{{harv|Thomsen|2004|p=155}}</ref> ''The Bitter Tears of Petra von Kant'' has been cited by some feminist and gay critics as both [[homophobia|homophobic]] and [[sexism|sexist]].<ref name="Watson 25"/>

Gay critics also complained of misrepresentation in ''Fox and His Friends''.<ref name="Watson 25"/> Conservatives attacked him for his association with the [[Far left|radical left]]. [[Marxism|Marxists]] said he had sold out his political principles in his depictions of left-intellectual manipulations in ''[[Mother Küsters' Trip to Heaven]]'' and of a late-blooming [[terrorism|terrorist]] in ''The Third Generation''. ''Berlin Alexanderplatz'' was moved to a late night television slot amid widespread complaints that it was unsuitable for children.<ref name="Watson 25"/> The most heated criticism came for his play ''Trash, the City, and Death'', whose scheduled performance at the Theater am Turm in Frankfurt was cancelled early in 1975 amid charges of [[anti-semitism]]. In the turmoil, Fassbinder resigned from his directorship of that prestigious theater complex, complaining that the play had been misinterpreted. The play is about an unscrupulous and very greedy [[Jewish]] businessman in Frankfurt who ruthlessly uses German guilt over [[the Holocaust]] to make himself rich. Though published at the time, and quickly withdrawn, the play was not performed until five years after Fassbinder's death by Thieves Theatre in 1987 at [[ABC No Rio]].<ref>{{cite web |url=http://www.spiegel.de/spiegel/print/d-13521502.html |title=Der reiche Jude in Manhattan |first=Rainer |last=Weber |date=6 April 1987 |volume=15 |via=Spiegel Online}}</ref><ref name="Watson 25"/>

==Death==
By the time he made his last film, ''[[Querelle]]'' (1982), Fassbinder was using drugs and alcohol as a way to cope with his unrelenting schedule.{{citation needed|date=January 2019}} On the night of 9–10 June 1982, [[Wolf Gremm]], director of the film ''[[Kamikaze 1989]]'' (1982), which starred Fassbinder, was staying in his apartment.<ref name="Hayman 135">{{harv|Hayman|1984|p=135}}</ref> Early that evening, Fassbinder retired to his bedroom. He was working on notes for a future film, ''Rosa L'', based on the life of Polish-German revolutionary socialist [[Rosa Luxemburg]]. Fassbinder was watching television while reading when, shortly after 1 a.m., he received a phone call from his friend and assistant Harry Baer.<ref name="Watson 1">{{harv|Watson|1996|p=1}}</ref> At 3:30 a.m, when Juliane Lorenz arrived home, she heard the noise of the television in Fassbinder's room, but she could not hear him snoring. Though not allowed to enter the room uninvited, she went in, and discovered his lifeless body with a cigarette still between his lips.<ref name="Hayman 135"/> A thin ribbon of blood trickled from one nostril.<ref>{{harv|Thomsen|2004|p=43}}</ref>

Fassbinder died from an overdose of [[cocaine]]<ref>{{cite web |url=http://articles.latimes.com/2012/may/30/entertainment/la-et-fassbinder-20120530 |title=An L.A. love letter to Rainer Werner Fassbinder |last=King |first=Susan |date=30 May 2012 |work=latimes.com |access-date=13 January 2015}}</ref> and [[barbiturate]]s.<ref>{{cite web |url=http://www.spiegel.de/spiegel/print/d-14344354.html|title=O du verhaßt-geliebtes Gift|date=21 June 1982 |publisher=spiegel.de |language=de}}</ref> The notes for ''Rosa L'' were found next to his body.<ref name="Watson 1"/> His remains were interred at Bogenhausener Friedhof in Munich.

==Filmography==
All titles written and directed by Rainer Werner Fassbinder unless stated otherwise. According to Hanna Schygulla, Fassbinder had no part in the making of ''Why Does Herr R. Run Amok?''; it was realized from his idea by Michael Fengler, his assistant.<ref>{{cite journal|last=Sontag|first=Susan|author-link=Susan Sontag|date=25 February 2003|title=The Imperfect Storm|journal=[[The Village Voice]]|url=http://www.villagevoice.com/2003-02-25/film/the-imperfect-storm/|access-date=4 June 2009}}</ref>

{| class="wikitable sortable"
|-
! Year
! English title
! Original title
! Role
! class="unsortable" | Notes
|-
| 1965
| ''This Night''
| ''This Night''
|
| Short [[Lost film|Lost]]
|-
| 1966
| ''The City Tramp''
| ''Der Stadtstreicher''
| Mann auf toiletten
| Short, Uncredited
|-
| 1967
| ''The Little Chaos''
| ''Das kleine Chaos''
| Franz
| Short
|-
| 1968
| ''With Oak Leaves and Fig Leaf''
| ''Mit Eichenlaub und Feigenblatt''
| Festnehmender Soldat
|
|-
| 1969
| ''[[Love Is Colder Than Death (film)|Love Is Colder Than Death]]''
| ''Liebe ist kälter als der Tod''
| Franz Walsch
| Uncredited
|-
| 1969
| ''[[Katzelmacher]]''
| ''Katzelmacher''
| Jorgos
| Based on Fassbinder's play English title: ''Cock Artist'', Uncredited
|-
| 1970
| ''[[Gods of the Plague]]''
| ''Götter der Pest''
| Pornokunde
| Uncredited
|-
| 1970
| ''{{Interlanguage link multi|The Coffee Shop (film)|fr|3=Le Café|lt=The Coffee Shop}}''
| ''Das Kaffeehaus''
|
| Video recording for German TV Based on ''La bottega del caffè'' (1750), by [[Carlo Goldoni]]
|-
| 1970
| ''[[Why Does Herr R. Run Amok?]]''
| ''Warum läuft Herr R. Amok?''
|
| Co-directed and written (improvisation instructions) with [[Michael Fengler]]
|-
| 1970
| ''[[The American Soldier]]''
| ''Der amerikanische Soldat''
| Franz Walsch
| Uncredited
|-
| 1970
| ''{{Interlanguage link multi|Niklashauser Fart|de|3=Niklashauser Fart|lt=The Niklashausen Journey}}''
| ''Die Niklashauser Fahrt''
| Black Monk
| TV movie, Uncredited Co-directed with Michael Fengler
|-
| 1971
| ''[[Rio das Mortes (film)|Rio das Mortes]]''
| ''Rio das Mortes''
| Hannas Tanzpartner
| TV movie, Uncredited
|-
| 1971
| ''[[Mathias Kneissl (film)|Mathias Kneissl]]''
| ''Mathias Kneissl''
| Flecklbauer
|
|-
| 1971
| ''[[Whity (film)|Whity]]''
| ''Whity''
| Saloon guest
| Uncredited
|-
| 1971
| ''[[Beware of a Holy Whore]]''
| ''Warnung vor einer heiligen Nutte''
| Sascha, Herstellungsleiter
|
|-
| 1971
| ''{{Interlanguage link multi|Pioneers in Ingolstadt (1971 film)|de|3=Pioniere in Ingolstadt (Film)|lt=Pioneers in Ingolstadt}}''
| ''Pioniere in Ingolstadt''
|
| TV movie Based on the 1926 play by [[Marieluise Fleißer]]
|-
| 1972
| ''[[The Merchant of Four Seasons]]''
| ''Händler der vier Jahreszeiten''
| Zucker / Hans's friend
| Uncredited
|-
| 1972
| ''[[The Bitter Tears of Petra von Kant]]''
| ''Die bitteren Tränen der Petra von Kant''
|
| Based on Fassbinder's play
|-
| 1972–1973
| ''[[Eight Hours Don't Make a Day]]''
| ''Acht Stunden sind kein Tag''
|
| TV Series, 5 episodes
|-
| 1972
| ''{{Interlanguage link multi|Bremen Freedom|de|3=Bremer Freiheit|lt=Bremen Freedom}}''
| ''Bremer Freiheit''
| Rumpf
| TV movie, Uncredited Based on Fassbinder's play
|-
| 1973
| ''[[The Tenderness of Wolves (film)|The Tenderness of Wolves]]''
| ''Die Zärtlichkeit der Wölfe ''
| Wittowski
|
|-
| 1973
| ''{{Interlanguage link multi|Wildwechsel|de|3=Wildwechsel (Film)|lt=Jail Bait}}''
| ''Wildwechsel''
|
| TV movie Based on [[Franz Xaver Kroetz]]'s 1971 play
|-
| 1973
| ''[[World on a Wire]]''
| ''Welt am Draht''
|
| TV movie in two parts Based on the 1964 novel ''[[Simulacron-3]]'' by [[Daniel F. Galouye]] Co-written with Fritz Müller-Scherz
|-
| 1974
| ''[[Ali: Fear Eats the Soul]]''
| ''Angst essen Seele auf''
| Eugen, Krista's husband
| Uncredited Inspired by Douglas Sirk's ''[[All That Heaven Allows]]''
|-
| 1974
| ''{{Interlanguage link multi|Nora Helmer (film)|fr|3=Nora Helmer|lt=Nora Helmer}}''
| ''Nora Helmer''
|
| Video recording for German TV Based on ''[[A Doll's House]]'' by [[Henrik Ibsen|Ibsen]] (German translation by Bernhard Schulze)
|-
| 1974
| ''[[Martha (1974 film)|Martha]]''
| ''Martha''
|
| 16mm TV movie Based on the story "For the Rest of Her Life" by [[Cornell Woolrich]]
|-
| 1974
| ''[[Effi Briest (1974 film)|Effi Briest]]''
| ''Fontane – Effi Briest oder: Viele, die eine Ahnung haben von ihren Möglichkeiten und Bedürfnissen und dennoch das herrschende System in ihrem Kopf akzeptieren durch ihre Taten und es somit festigen und durchaus bestätigen''
| Narrator
| Uncredited Based on [[Theodor Fontane]]'s 1894 [[Effi Briest|novel of the same name]]
|-
| 1975
| ''Like a Bird on a Wire''
| ''Wie ein Vogel auf dem Draht''
|
| TV movie Co-written with Christian Hohoff and Anja Hauptmann
|-
| 1975
| ''[[Fox and His Friends]]''
| ''Faustrecht der Freiheit''
| Franz Biberkopf
| Co-written with Christian Hohoff
|-
| 1975
| ''[[Mother Küsters' Trip to Heaven]]''
| ''Mutter Küsters Fahrt zum Himmel''
|
| Co-written with Kurt Raab Based on the short story "Mutter Krausens Fahrt Ins Glück" by [[Heinrich Zille]]
|-
| 1975
| ''{{Interlanguage link multi|Angst vor der Angst|de|3=Angst vor der Angst|lt=Fear of Fear}}''
| ''Angst vor der Angst''
|
| TV movie Based on [[Asta Scheib]]'s 1974 novel ''Langsame Tage''
|-
| 1976
| ''[[Shadow of Angels]]''
| ''Schatten der Engel''
| Raoul
|
|-
| 1976
| ''[[I Only Want You To Love Me]]''
| ''Ich will doch nur, daß ihr mich liebt''
|
| TV movie Based on the book ''Lebenslänglich'' by Klaus Antes and Christiane Erhardt
|-
| 1976
| ''[[Satan's Brew]]''
| ''Satansbraten''
|
|
|-
| 1976
| ''[[Chinese Roulette]]''
| ''Chinesisches Roulette''
|
|
|-
| 1977
| ''Adolfo & Marlene''
| ''Adolf und Marlene''
| Hermann
|
|-
| 1977
| ''{{Interlanguage link multi|Women in New York|de|3=Frauen in New York|lt=Women in New York}}''
| ''Frauen in New York''
|
| TV movie Based on [[Clare Boothe Luce]]'s ''[[The Women (play)|The Women]]''
|-
| 1977
| ''{{Interlanguage link multi|Bolwieser|de|3=Bolwieser|lt=The Stationmaster's Wife}}''
| ''Bolwieser''
|
| TV movie in two parts Based on [[Oskar Maria Graf]]'s 1931 novel ''Bolwieser: The Novel of a Husband''
|-
| 1978
| ''Der kleine Godard an das Kuratorium junger deutscher Film''
| ''Der kleine Godard an das Kuratorium junger deutscher Film''
| Second Director
|
|-
| 1978
| ''[[Germany in Autumn]]''
| ''Deutschland im Herbst''
|
| Short [[omnibus film]]
|-
| 1978
| ''[[Despair (film)|Despair]]''
| ''Despair – Eine Reise ins Licht''
|
| Screenplay by [[Tom Stoppard]] Based on [[Vladimir Nabokov]]'s [[Despair (novel)|1936 novel]]
|-
| 1978
| ''[[In a Year of 13 Moons]]''
| ''In einem Jahr mit 13 Monden''
|
| Director
|-
| 1979
| ''[[The Marriage of Maria Braun]]''
| ''Die Ehe der Maria Braun''
|
| Co-written with [[Pea Fröhlich]] and [[Peter Märthesheimer]]
|-
| 1979
| ''[[The Third Generation (1979 film)|The Third Generation]]''
| ''Die dritte Generation''
| Peddler
|
|-
| 1980
| ''[[Berlin Alexanderplatz (television)|Berlin Alexanderplatz]]''
| ''Berlin Alexanderplatz''
| Erzähler
| [[Miniseries]], 13 episodes Based on the [[Alfred Döblin]]'s [[Berlin Alexanderplatz|1929 novel]]
|-
| 1981
| ''[[Lili Marleen (film)|Lili Marleen]]''
| ''Lili Marleen''
| Günther Weissenborn
| Uncredited Based on [[Lale Andersen]] autobiography ''Der Himmel hat viele Farben'' Co-written with Manfred Purzer and Joshua Sinclair
|-
| 1981
| ''Theater in Trance''
| ''Theater in Trance''
|
| Documentary
|-
| 1981
| ''Heute spielen wir den Boß''
| ''Heute spielen wir den Boß''
| Man
| Uncredited
|-
| 1981
| ''[[Lola (1981 film)|Lola]]''
| ''Lola''
|
| Co-written with Pea Fröhlich and Peter Märthesheimer
|-
| 1982
| ''[[Die Sehnsucht der Veronika Voss|Veronika Voss]]''
| ''Die Sehnsucht der Veronika Voss''
| Kinobesucher
| Uncredited Co-written with Pea Fröhlich and Peter Märthesheimer
|-
| 1982
| ''[[Querelle]]''
| ''Querelle''
|
| Based on [[Jean Genet]]'s 1953 novel ''[[Querelle of Brest]]'' Co-written with [[Burkhard Driest]]
|-
| 1982
| ''[[Kamikaze 1989]]''
| ''Kamikaze 1989''
| Polizeileutnant Jansen
|
|-
| 1983
| ''Die Erbtöchter''
| ''Die Erbtöchter''
|
| (segment "Flüchtige Umarmungen")
|}

==Plays==
* 1965: ''Nur eine Scheibe Brot'' (1995, Volkstheater Wien as part of the Bregenzer Festspielen)
* 1966: ''Tropfen auf heiße Steine'' (1985, Theaterfestival München; filmed in 2000 by [[François Ozon]] as ''[[Water Drops on Burning Rocks|Gouttes d'eau sur pierres brûlantes]]'')
* 1968: ''[[Katzelmacher]]'' (Action-Theater in Munich, filmed by Fassbinder 1969; received Gerhart-Hauptmann-Preis)
* 1968: ''Der amerikanische Soldat'' (Antiteater in Munich, filmed by Fassbinder 1970)
* 1969: ''Preparadise sorry now'' (based on the case of [[Myra Hindley]] and [[Ian Brady]], Antiteater in München)
* 1969: ''Anarchie in Bayern'' (Antiteater in Munich)
* 1969: ''Gewidmet Rosa von Praunheim'' (Antiteater in Munich)
* 1969: ''{{Interlanguage link multi|Das Kaffeehaus (play)|it|3=La bottega del caffè (Fassbinder)|lt=Das Kaffeehaus}}'' (based on [[Carlo Goldoni]]'s ''La bottega del caffè'', Schauspielhaus Bremen. Filmed by Fassbinder 1970)
* 1969: ''Werwolf'' (in collaboration with [[Harry Baer]]'s Antitheather in Berlin)
* 1970: ''Das brennende Dorf'' (based on ''Fuente Ovejuna'' by [[Lope de Vega]], Schauspielhaus Bremen)
* 1971: ''[[Blood on the Cat's Neck|Blut am Hals der Katze]]'' (Antiteater in Nürnberg)
* 1971: ''[[Die bitteren Tränen der Petra von Kant]]'' ([[Deutsche Akademie der Darstellenden Künste]] or Experimenta in Frankfurt am Main. Filmed by Fassbinder 1972)
* 1971: ''Bremer Freiheit'' (based on the case of [[Gesche Gottfried]], Schauspielhaus Bremen. Filmed by Fassbinder 1972)
* 1973: ''Bibi'' (based on the play ''Bibi - Seine Jugend in drei Akten'' by [[Heinrich Mann]], [[Schauspielhaus Bochum|Theater Bochum]])
* 1975: ''Der Müll, die Stadt und der Tod'' (German premiere in 2009 at the Theater an der Ruhr in [[Mülheim an der Ruhr|Mülheim]]; filmed in 1976 as ''[[Schatten der Engel]]'' by [[Daniel Schmid]])

==Films and documentaries about Fassbinder==
* ''Rainer Werner Fassbinder'' (1977) – German documentary made by Florian Hopf and Maximiliane Mainka. (29 minutes)
* ''Life Stories: A Conversation with RWF'' (German title: ''Lebensläufe - Rainer Werner Fassbinder im Gespräch'', 1978) – German TV documentary made by Peter W. Jansen as part of a regular series. Contains an in-depth interview given by RWF in his Paris home. Originally aired on 18 March 1978. (48 minutes)
* ''RWF Last Works'' (German title: ''RWF Letzte Arbeiten'', 1982) - German TV documentary made by [[Wolf Gremm]] during the shooting of ''Kamikaze 1989'' and ''[[Querelle]]''.
* ''[[Room 666]]'' (German title: ''Chambre 666'', 1982) – Along with a number of his peers, Fassbinder participated in this [[Wim Wenders]] documentary project. (50 minutes)
* ''A Man Like Eva'' (German title: ''Ein Mann wie EVA, 1984'') – [[Eva Mattes]] plays a fictionalized version of Fassbinder in this film directed by [[Radu Gabrea]].(92 minutes) <ref>{{Cite news|last=Canby|first=Vincent|date=26 June 1985|title=Film: 'A Man Like Eva'|language=en-US|work=The New York Times|url=https://www.nytimes.com/1985/06/26/movies/film-a-man-like-eva.html|access-date=23 June 2020|issn=0362-4331}}</ref>
* ''I Don't Just Want You to Love Me'' (1992) – German feature-length documentary on Fassbinder's career. (90 minutes)
* ''The Women of Fassbinder'' (German title: ''Frauen über R. W. Fassbinder'' 1992) – German television documentary made by Thomas Honickel. [[Margit Carstensen]], Irm Hermann, Hanna Schygulla and (briefly) Rosel Zech are interviewed. (60 minutes)
* ''The Many Women of Fassbinder'' (1997)
* ''Life, Love and Celluloid'' (1998) – English language documentary film by Juliane Lorenz centring on the 1997 [[Museum of Modern Art]] retrospective in New York. [[Gottfried John]] and Günter Lamprecht are featured. (90 minutes)
* ''Fassbinder in Hollywood'' (2002) – Documentary made by Robert Fischer (mainly in English) and co-written by [[Ulli Lommel]], who also appears. [[Michael Ballhaus]], [[Hanna Schygulla]] and [[Wim Wenders]] are interviewed. (57 minutes)
* ''Fassbinder's Women'' (2005) – French thematic anthology of film clips. (25 minutes)
* ''[[Enfant Terrible (film)|Enfant Terrible]]'', 2020 film directed by [[Oskar Roehler]]

==References==
{{reflist}}

===Bibliography===
* {{cite book|last=Baer|first=Harry|author-link=Harry Baer|title=Ya Dormiré cuando este Muerto|year=1986|publisher=Seix Barrall|isbn=84-322-4572-0}}
* {{cite book|last=Cappello|first=Mary|title=Awkward: A Detour|year=2007|publisher=Bellevue Literary Press|isbn=978-1-934137-01-7|url=https://archive.org/details/awkward00mary}}
* {{cite book|last=Elsaesser|first=Thomas|title=Fassbinder's Germany. History Identity Subject|year=1996|publisher=Amsterdam University Press|isbn=90-5356-059-9}}
* {{cite book|last=Hayman|first=Ronald|author-link=Ronald Hayman|title=Fassbinder: Film Maker|url=https://archive.org/details/fassbinderfilmma0000haym|url-access=registration|year=1984|publisher=Simon & Schuster|isbn=0-671-52380-5}}
* {{cite book|last=Hermes|first=Manfred|title=Hystericizing Germany. Fassbinder, Alexanderplatz|year=2014|publisher=Sternberg Press|isbn=978-3-95679-004-1}}
* {{cite book|last=Iden|first=Peter|title=Fassbinder|year=1981|publisher=Tanam Press|edition=1|isbn=0-934378-17-7}}
* {{cite book|editor-last1=Kardish |editor-first1=Laurence |editor-last2=Lorenz |editor-first2=Juliane |title=Rainer Werner Fassbinder: The Museum of Modern Art, New York, January 23 - March 20, 1977|year=1997|publisher=Museum of Modern Art|isbn=0-87070-109-6}}
* {{cite book|last=Katz|first=Robert|author-link=Robert Katz|title=Love Is Colder Than Death : The Life and Times of Rainer Werner Fassbinder|year=1987|publisher=Random House|isbn=0-394-53456-5|url=https://archive.org/details/loveiscolderthan00katz}}
* {{cite book |editor-last1=Lorenz |editor-first1=Juliane |editor-last2=Schmid |editor-first2=Marion |editor-last3=Gehr |editor-first3=Herbert |title=Chaos as Usual: Conversations About Rainer Werner Fassbinder|year=1997|publisher=Applause Books|isbn=1-55783-262-5}}
* {{cite journal|last=Pipolo|first=Tony|title=Straight from the Heart: Reviewing the Films of Rainer Werner Fassbinder|journal=[[Cineaste (magazine)|Cineaste]]|volume=29|issue=4|date=September 2004|pages=18–25|issn=0009-7004}}
* Rufell, Joe (2002). ''Rainer Werner Fassbinder''. Senses of Cinema: Great Directors Critical Database
*{{cite book|last=Sandford|first=Joe|title=The New German Cinema|year=1982|publisher=Da Capo Paperback|isbn=0-306-80177-9}}
* {{cite book|last=Silverman|first=Kaja|title=Male Subjectivity at the Margins|year=1992|publisher=Psychology Press|isbn=0-415-90419-6}}
* {{cite book|last=Thomsen|first=Christian Braad|title=Fassbinder: Life and Work of a Provocative Genius|year=2004|publisher=University of Minnesota Press|isbn=0-8166-4364-4}}
* {{cite book|editor=Vincendeau|editor-first= Ginette|title=Encyclopedia of European Cinema|year=1995|publisher=Cassell|isbn=0-304-34164-9}}
* {{cite journal|last=Watson|first=Wallace Steadman|title=The Bitter Tears of RWF|journal=[[Sight & Sound]]|publisher=British Film Institute|date=July 1992|pages=24–29|issn=0037-4806}}
* {{cite book|last=Watson|first=Wallace Steadman|title=Understanding Rainer Werner Fassbinder: Film as Private and Public Art|url=https://archive.org/details/understandingrai0000wats|url-access=registration|year=1996|publisher=University of South Carolina Press|isbn=1-57003-079-0}}

==Further reading==

===Archival sources===
*[http://beta.worldcat.org/archivegrid/?p=1&q=rainer+fassbinder Various manuscript items] are held at a number of repositories

==External links==
{{Commons category}}
* [http://www.fassbinderfoundation.de Fassbinder Foundation] {{in lang|de}}
* {{IMDb name|1202}}
* [http://jclarkmedia.com/fassbinder/index.html#introduction Overview of Fassbinder's cinematic and theatre careers]
* [http://www.lib.berkeley.edu/MRC/Germanfilmbib.html#Fassbinder Fassbinder Bibliography (via UC Berkeley)]
* [http://www.villagevoice.com/film/0309,sontag,42133,20.html Interview with Hanna Schygulla about Fassbinder]
* {{YouTube|zDjyxgerif4|Short film clip with Fassbinder's editor Julianne Lorenz}}
* [http://www.filmdenken.de/essay/fassbinder.htm Essay on Fassbinder's Films] {{in lang|de}}
* [http://www.goethe.de/kue/flm/far/en6013539.htm "We still miss him"], Goethe Institut article, May 2010
* [http://www.peterlind.org/o/#Der_Müll,_die_Stadt_und_der_Tod ''Garbage, the City, and Death''], Copenhagen 1987, photostream by [[Peter Lind]] featuring photos of Fassbinder
* {{Find a Grave|7918599}}

{{Rainer Werner Fassbinder}}
{{Authority control}}

{{DEFAULTSORT:Fassbinder, Rainer Werner}}
[[Category:1945 births]]
[[Category:1982 deaths]]
[[Category:20th-century German dramatists and playwrights]]
[[Category:20th-century German male actors]]
[[Category:Barbiturates-related deaths]]
[[Category:Directors of Golden Bear winners]]
[[Category:Best Director German Film Award winners]]
[[Category:Bisexual male actors]]
[[Category:German male actors]]
[[Category:Bisexual writers]]
[[Category:German writers]]
[[Category:Cocaine-related deaths]]
[[Category:Drug-related deaths in Germany]]
[[Category:English-language film directors]]
[[Category:German experimental filmmakers]]
[[Category:Mass media people from Bavaria]]
[[Category:German male dramatists and playwrights]]
[[Category:German male film actors]]
[[Category:German male television actors]]
[[Category:German screenwriters]]
[[Category:LGBT directors]]
[[Category:German film directors]]
[[Category:LGBT dramatists and playwrights]]
[[Category:LGBT screenwriters]]
[[Category:LGBT writers from Germany]]
[[Category:People from Unterallgäu]]
[[Category:Male screenwriters]]
[[Category:20th-century screenwriters]]

What Thou Wilt

2021-04-05T10:19:02Z

Invulgo: Changed titles to the exact styling as the Tzadik release, including capitilisation of the first track

{{Infobox album
| name = What Thou Wilt
| type = studio
| artist = [[John Zorn]]
| cover = What Thou Wilt.jpg
| alt =
| released = October 2010
| recorded =
| venue =
| studio =
| genre = [[Contemporary classical music]]
| length = 42:20<ref>{{cite web |url=http://www.allmusic.com/album/john-zorn-what-thou-wilt-mw0002039993 |title=John Zorn: What Thou Wilt |publisher=Allmusic.com |access-date=25 August 2012}}</ref>
| label = [[Tzadik Records|Tzadik]] TZ 8076
| producer = [[John Zorn]]
| prev_title = [[Ipsissimus]]
| prev_year = 2010
| next_title = [[Interzone (album)|Interzone]]
| next_year = 2010
}}
'''''What Thou Wilt''''' is an album of [[contemporary classical music]] composed by [[John Zorn]] and released in October 2010 on the [[Tzadik Records|Tzadik]] label.<ref name="tzadik">{{cite web |url=http://www.tzadik.com/index.php?catalog=8076 |title=John Zorn: What Thou Wilt |publisher=Tzadik.com |access-date=25 August 2012}}</ref> It was originally composed in 1999,<ref name="tzadik" /> 11 years prior to release. It features many of Zorn's prominent collaborators, including [[Erik Friedlander]], [[Stephen Drury (musician)|Stephen Drury]], and [[Fred Sherry]].

==Track list==
# CONTES DE FÉES - 13:18
# ∴ (Fay Çe Que Vouldras - 22:53
# 777 (nothing is true, everything is permitted) - 6:10

==Personnel==
*[[Ryan McAdams]]: Conductor
*Stephanie Nussbaum: Solo Violin
*Stephen Drury: Piano
*Erik Friedlander: Cello
*Fred Sherry: Cello
*Mike Nicolas: Cello

===The Tanglewood Music Center Orchestra===
{{Col-begin}}
{{Col-2}}
*Karin Andreasen: First Violin
*Leah Arsenault: Flute
*Sarah Bass: Viola
*Joseph Becker: Percussion
*Brent Besner: Clarinet
*Zachary Boeding: Oboe
*Evan Buttemer: Viola
*Rosanna Butterfield: Cello
*Shawn Conley: Bass
*Allison Cook: Bass
*Andrew Cuneo: Bassoon
*Michael Dahlberg: Cello
*F. Ladrón de Guevara: First Violin
*Rui Du: Second Violin
*Alexandra Early: First Violin
*John Elliott: Tuba
*Amy Galluzzo: Second Violin
*Chen-Erh Ho: Viola
{{Col-2}}
*David Hughes: Piano
*Julia Hunter: First Violin
*Oya Kazuki: Percussion
*Kathryn Kilian: Second Violin
*Anna Lindvall: Trombone
*Te-Chiang Liu: First Violin
*Mary Lynch: Oboe
*Joseph Maile: First Violin
*Derek Mosloff: Viola
*Tim Riley: Horn
*Laura Scalzo: Second Violin
*Derek Stults: Percussion
*Meryl Summers: Bassoon
*Charles Tyler: Cello
*Tema Watstein: Second Violin
*Ryan Yuré: Clarinet
*Heather Zinninger: Flute
{{col-end}}

==References==
<references/>
{{John Zorn}}

{{Authority control}}

[[Category:2010 albums]]
[[Category:John Zorn albums]]
[[Category:Tzadik Records albums]]
[[Category:Albums produced by John Zorn]]

{{2010s-album-stub}}

Appunti per un film sull'India

2021-03-22T10:18:43Z

Invulgo: corrected false plural of recce

{{Infobox film
| name = Appunti per un film sull'India
| image =
| caption =
| director = [[Pier Paolo Pasolini]]
| producer = Gianni Barcelloni
| writer = Pier Paolo Pasolini Sergio Citti
| screenplay =
| story =
| based_on = 
| narrator =
| starring =
| music = Ennio Morricone
| cinematography = Roberto Nappa Federico Zanni
| editing = Jenner Menghi
| studio =
| distributor =
| released = {{Film date|1968|8|18|Venice Film Festival|df=y}}
| runtime =
| country = Italy
| language = Italian
| budget =
| gross =
}}

'''''Appunti per un film sull'India''''' is a 1968 short documentary film by [[Pier Paolo Pasolini]] where he visits India to do a recce for his proposed film with India as its background about a king who gives up his body to feed a starving tiger.<ref>{{cite book
| title = A certain realism: making use of Pasolini's film theory and practice
| url = https://archive.org/details/certainrealismma00vian
| url-access = registration
| author = Maurizio Sanzio Viano
| edition = illustrated
| publisher = University of California Press
| year = 1993
| isbn = 978-0-520-07855-0
| page = [https://archive.org/details/certainrealismma00vian/page/194 194]
}}</ref><ref>{{cite book
| title = Pier Paolo Pasolini
| author = Piero Spila
| publisher = Gremese Editore
| year = 1999
| isbn = 978-88-7742-195-1
| page = 77
}}</ref>

The film was shot around post-independent India when it was facing grave challenges of poverty, population and caste system. Pasolini narrates the challenges of India and its charms amidst all the problems the country faces. The 33-minute-long documentary is composed of short interviews from random people about their opinions on matters such as family planning. The documentary also shows short interviews of journalists and one politician about the challenges India faces in modernizing itself without becoming westernized or losing the Indian identity in the process.

The film opens and ends with a shot of a [[Sikh]] soldier, who, Pasolini identifies, in his commentary, as the one who would play the role of Maharaja in his film. Among others Pasolini interviewed for his film the former Maharaja of [[Bhavnagar State|Bhavanagar]] and his wife and well-known [[Urdu]] story writer and filmmaker [[Rajinder Singh Bedi]].

The documentary was shot in many places including [[New Delhi]], [[Jaipur]], [[Rishikesh]] and [[Varanasi]] etc.

== References ==
{{reflist}}

==External links==
*{{IMDb title|0208689}}

{{Pier Paolo Pasolini}}

[[Category:Films directed by Pier Paolo Pasolini]]
[[Category:Italian films]]
[[Category:Italian short documentary films]]
[[Category:Documentary films about poverty]]
[[Category:1968 films]]
[[Category:1968 documentary films]]
[[Category:Documentary films about India]]
[[Category:1960s short documentary films]]
[[Category:1968 in Italian television]]

{{1960s-Italy-film-stub}}
{{short-documentary-film-stub}}

The Tenderness of Wolves (film)

2021-03-10T07:52:34Z

Invulgo: clarified the misconception that Fritz's friends are aware they are eating human flesh; in fact then film makes clear they think it is just pork

{{missing information|the film's production, and home media releases|date=May 2019}}
{{Infobox film
| name = The Tenderness of Wolves
| image = Die Zärtlichkeit der Wölfe.jpg
| alt =
| caption = German theatrical release poster
| native_name = Die Zärtlichkeit der Wölfe
| director = [[Ulli Lommel]]
| producer = [[Rainer Werner Fassbinder]]<ref name="filmportal" />
| screenplay = [[Kurt Raab]]<ref name="filmportal" />
| based_on = 
| starring = {{plainlist|
*Kurt Raab
*Jeff Roden
*[[Margit Carstensen]]
*[[Ingrid Caven]]
*Hannelore Tiefenbrunner
}}
| music = [[Peer Raben]]
| cinematography = Jürgen Jürges<ref name="filmportal" />
| editing = {{plainlist|
*Thea Eymèsz
*Rainer Werner Fassbinder<ref name="filmportal" />}}
|production_companies = Tango-Film<ref name="filmportal" />
| distributor = Cinegate (1976, UK)
| released = {{film date|1973|6|29|df=y}}
| runtime = 82 minutes<ref name="filmportal" />
| country = West Germany<ref name="filmportal" />
| language = German
| budget =
| gross = 
}}
'''''The Tenderness of Wolves''''' ({{lang-de|'''Die Zärtlichkeit der Wölfe'''}}) is a 1973 West German [[crime film|crime]] [[drama film]] directed by [[Ulli Lommel]]. The story is based on the crimes of [[German people|German]] [[serial killer]] and [[cannibalism|cannibal]] [[Fritz Haarmann]]. It was written by [[Kurt Raab]], who also stars in the film, and produced by [[Rainer Werner Fassbinder]]. It was entered into the [[23rd Berlin International Film Festival]].

==Plot==
In war-torn [[Germany]], a string of violet murders of young men and boys plagues a small town. Fritz Haarman, a [[homosexual|gay]] man with a history of petty crimes, works in the community as a government inspector, is committing the crimes, unbeknownst to local authorities. After carrying out the murders, Fritz butchers the bodies of his victims and he sells the meat to local restaurants and consumes it with his circle of unknowing friends, among them Luise, an aging proprietor of a local restaurant. Among the locals, Fritz has a reputation for exchanging money for sexual favors with teenage boys.
While checking identification cards at a train station one night, Fritz encounters a teenaged boy there alone, and without identification. Instead of bringing him to the police, Fritz brings him to his home and seduces him. He subsequently kills and butchers him, and then dines on the meat with his fellow cannibals. Meanwhile, Fritz carries on a tempestuous relationship with his adult male lover, Hans, engaging in petty schemes to make money. Fritz's neighbor, Frau Linder, who lives in the apartment below him, is suspicious of Fritz, and takes note of odd noises she hears coming from his apartment in the middle of the night.

On one occasion, Fritz kidnaps and kills a young boy. Frau Linder witnesses him leaving the apartment in the middle of the night with several bundles of matter wrapped in parchment paper. She follows him as he disposes of the bundles in the [[Ruhr (river)|Ruhr River]]. The next day, Fritz socializes with Dora, his friend, and approaches a teenage piano player in a restaurant. He asks the boy to visit him at his home later, which he obliges. There, Fritz strangles him to death before biting his neck and engaging in [[necrophilia]] with the body.

Hans and Dora subsequently arrive at Fritz's apartment, and are shocked to see the boy's body lying in Fritz's bed. Fritz assures Dora he is only sleeping, and asks her to leave. When she returns, the body has disappeared, Hans having helped conceal the crime. Meanwhile, Frau Linder continues to covertly spy on Fritz, and attempts to have police investigate. Hans subsequently ends his relationship with Fritz, leaving Fritz bereft. Meanwhile, Fritz continues to kidnap and murder young boys and men. Unbeknownst to him, Hans goes to police with his knowledge of Fritz's crimes. Police stage a raid on Fritz's apartment as he brings another teenage boy to his apartment. Just as he bites into the teenager's throat, police break into the apartment, alarmed by the young man's screams. Fritz is taken from the apartment in a rage.

Intertitles reveal that Fritz was executed for his crimes.

==Cast==
{{Cast list|
* [[Kurt Raab]] as Insp. Fritz Haarmann
* Jeff Roden as Hans Grans
* [[Margit Carstensen]] as Frau Lindner
* [[Ingrid Caven]] as Dora
* Wolfgang Schenck as Kommissar Braun
* [[Brigitte Mira]] as Luise Engel
* Rainer Hauer as Kommissar Müller
* Barbara Bertram as Elli
* [[Rainer Werner Fassbinder]] as Wittowski
* Heinrich Giskes as Lungis
* Friedrich Karl Praetorius as Kurt Fromm
* Karl von Liebezeit as Herr Engel
* Walter Kaltheuner as Schuhmacher
* [[El Hedi ben Salem]] – Französischer Soldat
* Rainer Will as Opfer (as Reiner Will)
}}

==Release==
{{expand section|date=May 2019}}
''The Tenderness of Wolves'' was released on 29 June 1973.<ref name="filmportal" /> The film was released in the UK in May 1976<ref>https://www.imdb.com/title/tt0070957/releaseinfo?ref_=tt_ql_dt_2</ref> The 2015 Blu-ray release in the USA and the UK by Arrow Video offered a new high definition digital transfer of the film as well as an introduction and audio commentary by [[Ulli Lommel]].<ref>https://arrowfilms.com/product-detail/tenderness-of-the-wolves-dual-format/FCD1170</ref>

==Reception==
{{expand section|date=May 2019}}
[[Roger Ebert]] rated the film 2.5 out of 4 stars, calling it " a nasty little melodrama, lurid and creepy and sometimes bordering on demented humor. It's the kind of movie we may not exactly enjoy, but we don't walk out on."<ref name="ebert76" />

[[Vincent Canby]] of ''[[The New York Times]]'' gave the film a positive review, commending the film's performances, cinematography, and direction.<ref name="canby77" /> Dennis Schwartz from ''Ozus' World Movie Reviews'' awarded the film a grade A, calling it "A wickedly entertaining but harrowing tale"; praising the film's [[expressionistic]] style, direction, and Raab's performance.<ref name="schwartz06" /> Chris Coffel from [[Bloody Disgusting]] praised the film for its historical accuracy, and unconventional narrative, stating that it was arguably Lommel's best film.<ref name="bloodydisgusting" /> Clayton Dillard of ''[[Slant Magazine]]'' awarded the film 4.5 out of 5 stars, writing "If ''Tenderness of the Wolves'' works on a reflexive register, it’s due to Raab’s performance, which consistently displays his own homosexuality in a fashion that blurs lines between fiction and documentary, albeit a bit coarsely, since Lommel often trains his camera on Haarmann’s sexual encounters to milk their exploitative potential."<ref name="slantmagazine" />

==References==
{{reflist|refs=
<ref name="bloodydisgusting">{{cite web |last1=Coffel |first1=Chris |title=[Blu-ray Review] 'Tenderness of the Wolves' |url=https://bloody-disgusting.com/reviews/3370125/blu-ray-review-tenderness-wolves-chilling-look-life-serial-killer/ |website=Bloody Disgusting.com |publisher=Chris Coffel |accessdate=16 May 2019}}</ref>
<ref name="canby77">{{cite web |last1=Canby |first1=Vincent |title=Screen: Vampire In Fassbinderland - The New York Times |url=https://www.nytimes.com/1977/05/20/archives/screen-vampire-in-fassbinderland.html |website=NYTimes.com |publisher=Vincent Canby |accessdate=16 May 2019}}</ref>
<ref name="ebert76">{{cite web |last1=Ebert |first1=Roger |title=Tenderness of the Wolves Movie Review (1976) |url=https://www.rogerebert.com/reviews/tenderness-of-the-wolves-1976 |website=RogerEbert.com |publisher=Roger Ebert |accessdate=16 May 2019}}</ref>
<ref name="filmportal">{{cite web|url=http://www.filmportal.de/en/movie/die-zaertlichkeit-der-woelfe_ea43d4a6dc795006e03053d50b37753d|publisher=[[Filmportal.de]]|title=Die Zärtlichkeit der Wölfe|accessdate=November 24, 2015}}</ref>
<ref name="schwartz06">{{cite web |last1=Schwartz |first1=Dennis |title=tendernessofthewolves |url=http://homepages.sover.net/~ozus/tendernessofthewolves.htm |website=Sover.net |publisher=Dennis Schwartz |accessdate=16 May 2019}}</ref>
<ref name="slantmagazine">{{cite web |last1=Dillard |first1=Clayton |title=Blu-ray Review: Tenderness of the Wolves - Slant Magazine |url=https://www.slantmagazine.com/dvd/tenderness-of-the-wolves/ |website=Slant Magazine.com |publisher=Clayton Dillard |accessdate=16 May 2019}}</ref>
}}

==External links==
* {{Allmovie|155594|The Tenderness of Wolves}}
* {{IMDb title|0070957|The Tenderness of Wolves}}
* {{Rotten tomatoes|tenderness_of_the_wolves|The Tenderness of Wolves}}

{{Ulli Lommel}}

{{DEFAULTSORT:Tenderness Of Wolves, The}}
[[Category:1973 films]]
[[Category:1970s biographical films]]
[[Category:1973 LGBT-related films]]
[[Category:1970s serial killer films]]
[[Category:Biographical films about serial killers]]
[[Category:Films about cannibalism]]
[[Category:Films directed by Ulli Lommel]]
[[Category:German drama films]]
[[Category:German-language films]]
[[Category:German LGBT-related films]]
[[Category:West German films]]
[[Category:Films about rape]]
[[Category:Cultural depictions of Fritz Haarmann]]
[[Category:Films set in Germany]]
[[Category:1973 drama films]]

{{1970s-Germany-film-stub}}
{{1970s-drama-film-stub}}

Medea

2021-03-09T20:21:05Z

Invulgo: Added information on Medea's father being King Creon for clarity

{{Short description|Daughter of King Aeëtes of Colchis in Greek mythology}}
{{about|the Greek mythological figure|the play by Euripides|Medea (play)|other uses|Medea (disambiguation)}}
{{distinguish|Madea}}
{{Infobox deity
| type = Greek
| name = Medea
| image = Medea, con los hijos muertos, huye de Corinto en un carro tirado por dragones (Museo del Prado).jpg
| alt =
| caption = Medea on her golden chariot, by [[Germán Hernández Amores]]
| god_of =
| abode =
| symbol =
| consort = [[Jason]], [[Aegeus]]
| parents = [[Aeëtes]] and [[Idyia]]
| siblings = [[Absyrtus]], [[Chalciope]]
| children = Vary according to tradition, names include [[Alcimenes]], [[Thessalus]], [[Tisander]], [[Mermeros and Pheres|Mermeros]], [[Mermeros and Pheres|Pheres]], [[Eriopis]], and [[Medus]]
| mount =
| Roman_equivalent =
}}
In [[Greek mythology]], '''Medea''' ({{IPAc-en|m|ᵻ|ˈ|d|iː|ə}}; {{lang-grc|Μήδεια}}, ''Mēdeia'' means "well-counselled") is the daughter of [[Aeëtes|King Aeëtes]] of [[Colchis]], a niece of [[Circe]] and the granddaughter of the sun god [[Helios]]. Medea figures in the myth of [[Jason]] and the [[Argonauts]], appearing in [[Hesiod]]'s ''[[Theogony]]'' around 700 BC,<ref>[[Hesiod]] ''Theogony'' 993-1002</ref> but best known from [[Euripides]]'s tragedy ''[[Medea (play)|Medea]]'' and [[Apollonius of Rhodes]]' epic ''[[Argonautica]]''. Medea is known in most stories as a sorceress and is often depicted as a priestess of the goddess [[Hecate]].

She aids Jason in his search for the [[Golden Fleece]] out of love, assisting him with her magic and saving his life in several quests, playing the role of an archetypal helper-maiden, before abandoning her native Colchis, marrying him, and fleeing with him westwards where they eventually settle in [[Corinth]]. Euripides' 5th century BC tragedy ''Medea'', arguably the best known adaptation of the Medea myth, depicts the ending of said union with Jason, when after ten years of marriage, Jason abandons her to wed king [[Creon]]'s daughter [[Creusa of Corinth|Creusa]] while Medea and her sons by Jason are to be banished from Corinth. In revenge, she murders Creusa and the king with poisoned gifts, and later murders her own sons by Jason before fleeing for [[Athens]],<ref>[[Euripides]], ''[[Medea (play)|Medea]]''</ref> where she eventually marries king [[Aegeus]]. Other traditions mention several other causes of death for Medea's sons.

What happened afterwards varies according to several accounts. [[Herodotus]] in his [[Histories (Herodotus)|Histories]] mentions that she ended up leaving [[Athens]] and settling in the [[Iranian plateau]] among the [[Aryans]], who subsequently changed their name to the [[Medes]].<ref name="ReferenceA">[[Herodotus]] ''Histories'' VII.62i</ref>

== Genealogy and divinity ==
There have been many different accounts of Medea's family tree. One of the only uncontested facts is that she is a direct descendant of the sun god [[Helios]] (son of the [[Titan (mythology)|Titan]] [[Hyperion (mythology)|Hyperion]]) through her father King Aeëtes of Colchis. According to [[Hesiod]] (''[[Theogony]]'' 956–962), Helios and the Oceanid [[Perse (mythology)|Perseis]] produced two children [[Circe]] and [[Aeëtes|Aeetes]]. Aeëtes then married the Oceanid [[Idyia]] and Medea was their child. This is where scholars have begun to question the rest of Medea's genealogy. By some accounts, Aeëtes and Idyia only had two daughters, Medea and {{ill|Chalciope|de|Chalkiope (Tochter des Aietes)}} (or Chalkiope) and Apsyrtus (or Apsyrtos) was the son of Aeëtes through Asterodea. According to others, Idyia gave birth to Medea and Apsyrtus and Asterodea gave birth to Chalciope. Medea then marries Jason, although the number and names of their children are contested by different scholars. Euripides mentions two unnamed sons (whom Medea kills), others have suggested three sons (Thessalus, Alcimenes, and Tisander) two sons (Mermerus and Pheres) or a son and a daughter (Medeius and Eriopis). After Medea leaves Jason in Corinth, she marries the king of Athens (Aegeus) and bears him a son. Scholars have questioned whether her son Medeius is the son of Jason or of Aegeus, but Medeius goes on to become the ancestor of the Medes by conquering their lands.

The importance of Medea's genealogy is to help define what level of divinity she possessed. By some accounts, like the ''Argonautica'', she is depicted as a young, mortal woman. She is directly influenced by the Greek gods (through Hera and Aphrodite) and while she possesses magical abilities, she is still a mortal with divine ancestry. Other accounts, like Euripides' play ''Medea'', focus on her mortality, although she transcends the mortal world at the end of the play with the help of her grandfather Helios and his sun chariot. Hesiod's ''Theogony'' places her marriage to Jason on the list of marriages between mortals and divine, suggesting that she is predominantly divine. She also has connections with Hecate,<ref name=":0">{{Cite book|title=Medea|last=Griffiths|first=Emma|publisher=Routledge|year=2006|location=London: New York}}</ref> who was the goddess of magic, which could be one of the main sources from which she draws her magical ties.

== Mythology ==

===Jason and Medea===
{{redirect|Jason and Medea}}
[[Image:Jason and Medea - John William Waterhouse.jpg|thumb|''Jason and Medea'' by [[John William Waterhouse]] (1907)|alt=|275x275px]]

Medea's role began after Jason came from [[Iolcus]] to [[Colchis]], to claim his inheritance and throne by retrieving the [[Golden Fleece]]. In the most complete surviving account, the ''Argonautica'' of Apollonius of Rhodes, Medea fell in love with him and promised to help him, but only on the condition that if he succeeded, he would take her with him and marry her. Jason agreed. In a familiar mythic motif, Aeëtes promised to give him the fleece, but only if he could perform certain tasks. First, Jason had to plough a field with fire-breathing oxen that he had to yoke himself; Medea gave him an [[unguent]] with which to anoint himself and his weapons, to protect them from the bulls' fiery breath. Next, Jason had to sow the teeth of a [[European dragon|dragon]] in the ploughed field (compare the myth of [[Cadmus]]), and the teeth sprouted into an army of warriors; Jason was forewarned by Medea, however, and knew to throw a rock into the crowd. Unable to determine where the rock had come from, the soldiers attacked and killed each other. Finally, Aeëtes made Jason fight and kill the sleepless dragon that guarded the fleece; Medea put the beast to sleep with her [[narcotic]] herbs. Jason then took the fleece and sailed away with Medea, as he had promised. Apollonius says that Medea only helped Jason in the first place because [[Hera]] had convinced [[Aphrodite]] or [[Eros (mythology)|Eros]] to cause Medea to fall in love with him. Medea distracted her father as they fled by killing her brother [[Absyrtus]].

In some versions, Medea was said to have dismembered her brother's body and scattered his parts on an island, knowing her father would stop to retrieve them for proper burial; in other versions, it was [[Absyrtus]] himself who pursued them and was killed by Jason. During the fight, [[Atalanta]], a member of the group helping Jason in his quest for the fleece, was seriously wounded, but Medea healed her. In the ''Argonautica'', Medea and Jason stopped on her aunt [[Circe]]'s island so that she could be cleansed after murdering her brother, relieving her of blame for the deed.

[[File:Frederick Sandys - Medea, 1866-1868.jpg|thumb|''Medea'' by [[Frederick Sandys]]]]

On the way back to [[Thessaly]], Medea prophesied that [[Euphemus]], the helmsman of Jason's ship, the ''[[Argo]]'', would one day rule over all of [[Ancient Libya|Libya]]. This came true through [[Battus (mythology)|Battus]], a descendant of Euphemus.

The ''Argo'' then reached the island of [[Crete]], guarded by the bronze man, [[Talos]] (Talus). Talos had one vein which went from his neck to his ankle, bound shut by a single bronze nail. According to Apollodorus, Talos was slain either when Medea drove him mad with drugs, deceived him that she would make him immortal by removing the nail, or was killed by [[Poeas]]'s arrow (Apollodorus 1.140). In the ''[[Argonautica]]'', Medea hypnotized him from the ''Argo'', driving him mad so that he dislodged the nail, [[ichor]] flowed from the wound, and he bled to death (''Argonautica'' 4.1638). After Talos died, the ''Argo'' landed.

Jason, celebrating his return with the Golden Fleece, noted that his father [[Aeson]] was too aged and infirm to participate in the celebrations. Medea withdrew the blood from Aeson's body, infused it with certain herbs, and returned it to his veins, invigorating him.<ref>{{cite web|url=https://archive.org/details/livesnecromance04godwgoog|title=Lives of the Necromancers |last=Godwin |first=William|year=1876|page=41}}</ref> The daughters of king [[Pelias]] saw this and wanted the same service for their father.

While Jason searched for the Golden Fleece, [[Hera]], who was still angry at Pelias, conspired to make Jason fall in love with Medea, who, Hera hoped, would kill Pelias. When Jason and Medea returned to Iolcus, Pelias still refused to give up his throne, so Medea conspired to have Pelias' own daughters kill him. She told them she could turn an old ram into a young ram by cutting up the old ram and boiling it in magic herbs. During her demonstration, a live, young ram jumped out of the pot. Excited, the girls cut their father into pieces and threw him into a pot. Having killed Pelias, Jason and Medea fled to [[Ancient Corinth|Corinth]].

Various sources state that Jason and Medea had between one and fourteen children, including sons [[Alcimenes]], [[Thessalus]], [[Tisander]], [[Mermeros and Pheres]], [[Medus]], and Argos, and a daughter, [[Eriopis]].<ref>{{cite book|last1=Smith|first1=William|author-link1=William Smith (lexicographer)|title=A Dictionary of Greek and Roman biography and mythology: Vol 2|date=1870|page=1004|url=http://quod.lib.umich.edu/m/moa/acl3129.0002.001/1014?page=root;size=100;view=image|access-date=6 December 2016|chapter=Medeia| quote=Her children are, according to some accounts, Mermerus, Pheres or Thessalus, Alcimenes and Tisander, and, according to others, she had seven sons and seven daughters, while others mention only two children, Medus (some call him Polyxemus) and Eriopis, or one son Argos.}}</ref> They were married for 10 years in Corinth.{{sfn|Godwin|1876|p=42}}

===Various versions' endings===
[[Image:Medeia child Louvre K300.jpg|thumb|left|upright|Medea murders one of her children (Louvre)]]

In Corinth, Jason abandoned Medea for the king's daughter, Glauce. Before the fifth century BC, there seem to have been two variants of the myth's conclusion. According to the poet [[Eumelus of Corinth|Eumelus]], to whom the fragmentary epic ''Korinthiaka'' is usually attributed, Medea killed her children by accident.<ref>As noted in a [[scholium]] to [[Pindar]]'s ''Olympian Ode'' 13.74; cf. [[Pausanias (geographer)|Pausanias]] 2.3.10-11.</ref> She buried them alive in the Temple of Hera, believing this would make them immortal.<ref>{{Cite journal|last=West|first=M. L.|date=2007|title=A New Musical Papyrus: Carcinus, ''Medea''|journal=Zeitschrift für Papyrologie und Epigraphik|volume=161|pages=1–10|jstor=20191275}}</ref> The poet [[Creophylus]], however, blamed their murders on the citizens of Corinth.<ref>As noted in the scholium to ''Medea'' 264.</ref>

According to [[Euripides]]' [[Medea (play)|version]], Medea took her revenge by sending Glauce a dress and golden coronet, covered in poison. This resulted in the deaths of both the princess and the king, [[Creon (king of Corinth)|Creon]], when he went to save his daughter. Medea then continued her revenge, murdering two of her children herself and refusing to allow Jason to hold the bodies. Afterward, she left Corinth and flew to Athens in a golden chariot driven by dragons sent by her grandfather, Helios, god of the sun.

Although Jason in Euripides calls Medea most hateful to gods and men, the fact that the chariot is given to her by Helios indicates that she still has the gods on her side. As [[Bernard Knox]] points out, Medea's last scene with concluding appearances parallels that of a number of indisputably divine beings in other plays by Euripides. Just like these gods, Medea “interrupts and puts a stop to the violent action of the human being on the lower level, … justifies her savage revenge on the grounds that she has been treated with disrespect and mockery, … takes measures and gives orders for the burial of the dead, prophesies the future,” and “announces the foundation of a cult.”<ref>B.M.W. Knox. ''Word and Action: Essays on the Ancient Theatre.'' Baltimore: The Johns Hopkins University Press, 1979, p. 303.</ref>

This deliberate murder of her children by Medea appears to be Euripides' invention, although some scholars believe [[Neophron]] created this alternate tradition.<ref>See McDermott 1985, 10-15.</ref> Her [[filicide]] would go on to become the standard for later writers.<ref>[[Hyginus]] ''Fabulae'' 25; [[Ovid]] ''Met''. 7.391ff.; [[Seneca the Younger|Seneca]] ''Medea''; ''[[Bibliotheca (Pseudo-Apollodorus)|Bibliotheca]]'' 1.9.28 favors Euripides' version of events, but also records the variant that the Corinthians killed Medea's children in retaliation for her crimes.</ref> [[Pausanias (geographer)|Pausanias]], writing in the late 2nd century AD, records five different versions of what happened to Medea's children after reporting that he has seen a monument for them while traveling in Corinth.<ref>Pausanias 2.3.6-11</ref>

[[File:Pittore di policoro (ambito), cratere a calice con scene della medea e del telephos di euripide, lucania 400 ac ca. 03.jpg|thumb|upright|Medea flying on her chariot (Cleveland Museum)]]

Fleeing from Jason, Medea made her way to [[Thebes, Greece|Thebes]], where she healed [[Heracles]] (the former Argonaut) from the curse of Hera (that led him to slay his sons).<ref name=":1">Diodorus Siculus, 4.55-4.56</ref>

She then fled to [[Athens, Greece|Athens]], where she met and married [[Aegeus]]. They had one son, [[Medus]], although Hesiod makes Medus the son of Jason.<ref>[[Hesiod]] ''Theogony'' 1000-2</ref> Her domestic bliss was once again shattered by the arrival of Aegeus' long-lost son, [[Theseus]]. Determined to preserve her own son's inheritance, Medea convinced her husband that Theseus was a threat and that he should be disposed of. As Medea handed Theseus a cup of poison, Aegeus recognized the young man's sword as his own, which he had left behind many years previously for his newborn son, to be given to him when he came of age. Knocking the cup from Medea's hand, Aegeus embraced Theseus as his own.

Medea then returned to Colchis and, finding that Aeëtes had been deposed by his brother [[Perses (brother of Aeetes)|Perses]], promptly killed her uncle and restored the kingdom to her father. [[Herodotus]] reports another version, in which Medea and her son Medus fled from Athens, on her flying chariot, to the Iranian plateau and lived among the [[Indo-Aryan peoples|Aryans]], who then changed their name to the [[Medes]].<ref name="ReferenceA"/>

Recounting the many variations of Medea's story, the 1st century BC historian [[Diodorus Siculus]] wrote, "Speaking generally, it is because of the desire of the tragic poets for the marvelous that so varied and inconsistent an account of Medea has been given out."<ref name=":1" />

==''Personae'' of Medea==
[[File:Eugène Ferdinand Victor Delacroix 031.jpg|thumb|''Medea About to Murder Her Children'' by [[Eugène Ferdinand Victor Delacroix]] (1862)]]

In Euripides' play ''Medea'' she is a woman scorned, rejected by her husband Jason and seeking revenge. Deborah Boedeker writes about different images and symbolism used in Euripides' play to invoke responses from his original Athenian audience.<ref>{{Cite book|title=Medea: Essays on Medea in Myth, Literature, Philosophy, and Art.|last=Boedeker|first=Deborah|publisher=Princeton University Press|year=1997|location=Princeton, NJ.|pages=127–148}}</ref> The Nurse gives descriptions of Medea in the prologue, highlighting comparisons to great forces of nature and different animals. There are also many nautical references throughout the play either used by other characters when describing Medea or by Medea herself. By including these references, Boedeker argues that these comparisons were used to create connections to the type of woman Medea was. She holds great power (referred to by the comparisons to forces of nature), she relies on her basic animal-like instincts and emotions (connections to different animals like bulls and lions), and it draws the audience back her original myth of Jason's quest for the Golden Fleece and the sea voyage taken by Jason, Medea, and the Argonauts.

Emma Griffiths also adds to the analysis of Medea's character in Euripides's play by discussing the male/female dichotomy created by Euripides.<ref name=":0" /> Medea does not fit into the mold of a “normal woman” according to Athenian philosophy. She is depicted as having great intelligence and skill, something typically viewed as a masculine trait by Euripides' original audience. On the other hand, she uses that cunning in order to manipulate the men around her, and manipulation of other people would have been a negative female trait to the Athenian audience. There is also the paradox of how she chooses to murder her victims in the play. She poisons the princess, which would have been seen as a feminine way of murder, yet kills her children in cold blood, which is seen as more masculine. She also has dialogue about her children and shows a strong maternal love and connection to them, something that was essential to “normal women” in Athenian society. Yet at the end of the play she is able to kill her children as part of her revenge. It is through these opposites that Euripides creates a complicated character for his protagonist.

Marianne McDonald argues that "Medea’s anger turns to violent action, which can make her into a symbol of freedom, and emblem for the colonized turning the tables on the colonizer. Euripides, more than all other tragedians, has predicted many of the horrors that occur in the modern world, showing both the glory and the monstrosity of the oppressed turned oppressor".<ref>{{Cite book|title=Medea: Essays on Medea in Myth, Literature, Philosophy, and Art.|last=Clauss|first=James J.|publisher=Princeton University Press|year=1997|location=Princeton, NJ.|pages=304}}</ref>

Although not the first depiction of Medea, the ''Argonautica'' by Apollonios Rhodios gives a fuller description of events that lead up to Euripides's play, mainly surrounding Jason's quest for the Golden Fleece. In this literary work, Medea is presented not as a powerful woman seeking justice rather she is a young woman who is desperately in love with Jason. So much in love that she decides to defy her father and kill her brother in order to help him. James J. Clauss writes about this version of Medea, attempting to unearth another version of this character for scholarship and discussion.<ref>{{Cite book|title=Medea: Essays on Medea in Myth, Literature, Philosophy, and Art.|last=Clauss|first=James J.|publisher=Princeton University Press|year=1997|location=Princeton, NJ.|pages=149–177}}</ref> He looks into different passages in the original text to define the meaning and draw connection to the different feelings Medea was going through. He argues the feelings of Medea's initial love for Jason, the shame she feels for loving him and for going against her family, and final agreement to help Jason in his quest.

Multiple scholars have discussed Medea's use as a “helper maiden” to Jason's quest. A helper maid is typically personified as a young woman who helps on a hero's quest usually out of love. Instead of being the center of the story like she is in Euripides' ''Medea'', this version of Medea is reduced to a supporting role. Her main purpose is to help the hero with his quest. Jason would never have been successful on his quest without Medea's help, something that is pointed out and referenced many times in ancient texts and contemporary scholarly work.

Other, non-literary traditions guided the vase-painters,<ref>As on the bell krater at the Cleveland Museum of Art (91.1) discussed in detail by [[Christiane Sourvinou-Inwood]], "Medea at a Shifting Distance: Images and Euripidean tragedy", in Clauss and Johnston 1997, pp 253-96.</ref> and a localized, [[chthonic]] presence of Medea was propitiated with unrecorded emotional overtones at Corinth, at the sanctuary devoted to her slain children,<ref>Edouard Will, ''Corinth'' 1955. "By identifying Medea, Ino and Melikertes, Bellerophon, and Hellotis as pre-Olympianprecursors of Hera, Poseidon, and Athena, he could give to Corinth a religious antiquity it did not otherwise possess", wrote Nancy Bookidis, "The Sanctuaries of Corinth", ''Corinth'' '''20''' (2003)</ref> or locally venerated elsewhere as a foundress of cities.<ref>"Pindar shows her prophesying the foundation of [[Cyrene, Libya|Cyrene]]; [[Herodotus]] makes her the legendary [[eponym]]ous founder of the Medes; [[Callimachus]] and [[Apollonius of Rhodes|Apollonius]] describe colonies founded by Colchians originally sent out in pursuit of her" observes Nita Krevans, "Medea as foundation heroine", in Clauss and Johnston 1997 pp 71-82 (p. 71).</ref>

==Cultural depictions==
{{main|Cultural depictions of Medea}}

== Written sources ==
*[[Ovid]]<ref>Ovid also wrote a full play called ''Medea'' from which only a few lines are preserved.</ref>
::''[[Heroides]] XII''
::''[[Metamorphoses (poem)|Metamorphoses]] VII, 1-450''
::''[[Tristia]]'' iii.9
*[[Euripides]], ''[[Medea (play)|Medea]] ''
* Neophron, ''Medea'' (fragments from the play)
*[[Hyginus]], ''Fabulae'' 21-26
* Pindar, Pythian [https://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.01.0162:book=P.:poem=4&highlight=medea Odes, IV]
*[[Seneca the Younger|Seneca]]: ''[[Medea (Seneca)|Medea]]'' (tragedy)
*''[[Bibliotheca (Pseudo-Apollodorus)|Bibliotheca]]'' I, 23-28
*Diodorus Siculus, ''[[Bibliotheca historica|Bibliotheca Historica]]''
*[[Apollonius Rhodius]], ''[[Argonautica]]''
*[[Gaius Valerius Flaccus]] ''Argonautica'' (epic)
*[[Herodotus]], ''Histories'' I.2 and VII.62i
*[[Hesiod]], ''Theogony'' 1000-2

==See also==

* [[Medusa]]
* [[Medus]]
* [[Medea gene]]
* [[Medes]]

==References==
{{Reflist}}

==Bibliography==
{{commons category|Medea (mythology)|Medea}}
*[[Bibliotheca (Pseudo-Apollodorus)|Apollodorus]], ''Apollodorus, The Library, with an English Translation by Sir [[James George Frazer]], F.B.A., F.R.S. in 2 Volumes.'' Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1921.
* Clauss, J. J. and S. I. Johnston (eds), ''Medea: Essays on Medea in Myth, Literature, Philosophy and Art''. (Princeton, Princeton University Press, 1997). {{ISBN|9780691043760}}.
* Grant, Michael, and John Hazel.''Who's Who in Classical Mythology''. London: Weidenfeld & Nicolson, 1973.
* Griffiths, Emma. ''Medea''. London; New York: Routledge, 2006.
* [[Bernard Knox|Knox, B.M.W.]]. ''Word and Action: Essays on the Ancient Theatre.'' Baltimore: The Johns Hopkins University Press, 1979.
* McDermott, Emily, ''Euripides' Medea: The Incarnation of Disorder''. (University Park, PA, Penn State University Press, 1985). {{ISBN|9780271006475}}.
* [[Judith Mossman (classicist)|Mossman, Judith]], ''Medea: Introduction, Translation and Commentary.'' Aris & Phillips, Warminster 2011) {{ISBN|9780856687884}}
* [[William Smith (lexicographer)|Smith, William]], ''[[Dictionary of Greek and Roman Biography and Mythology]]''. London (1873). [https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0104%3Aalphabetic+letter%3DM%3Aentry+group%3D14%3Aentry%3Dmedeia-bio-1 "Medeia or Medea"]
* Wygant, Amy. ''Medea, Magic, and Modernity in France: Stages and Histories, 1553-1797''. (Aldershot, Ashgate, 2007). {{ISBN|9780754659242}}

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David Crumb

2021-02-20T09:17:17Z

Invulgo: Changed the auxiliary verb 'is' to 'was' to reflect that David Crumb's sister, Ann Crumb is now deceased. Apologies if this is not standard Wikipedia practice and please revert if I am mistaken.

{{short description|American contemporary composer|bot=PearBOT 5}}
'''David Crumb''' (born May 21, 1962<ref name="Presser">Presser</ref>) is an American [[Contemporary music|contemporary composer]] born into a musical family. His father is composer [[George Crumb]], and his sister was singer [[Ann Crumb]].<ref>Inside Oregon</ref> His music is not as avant-garde or experimental as his father's; it has been called "attractive, accessible, imaginative, well-crafted" by the ''Chicago-Sun Times'', and "expressive and beautiful" by the ''American Record Guide'': reviews listed on the Presser bio.<ref name="Presser"/>

==Life==
Crumb received his B.M. from the Eastman School, and his M.A. and Ph.D. from the [[University of Pennsylvania]].<ref name="University of Oregon">University of Oregon</ref> His most prominent composition teachers were [[Samuel Adler (composer)|Samuel Adler]], Richard Wernick, [[Chinary Ung]], Stephen Jaffe, Jay Reise, [[Mark Kopytman]], [[Lukas Foss]] and [[Oliver Knussen]].

He is associate professor of composition at the [[University of Oregon]] (on faculty since 1997).

Crumb has received numerous awards.<ref name="University of Oregon"/>

==Selected works==
*''Kinetikus'' for large percussion ensemble (2009)
*''Hearing Bells'' for soprano, flute, oboe, cello, percussion and piano (2004–2005)
*''Improvisations on an English Folk Tune'' for flute, clarinet, violin, cello and piano (2004)
*''Suspended Blue'' for brass quintet (2003)
*''Primordial Fantasy'' for piano and chamber ensemble (2002)
*''September Elegy'' for violin and piano (2001)
*''Harmonia Mundi'' for 2 pianos and 2 percussion (2001)
*''Variation on "Round Midnight"'' for solo piano (2001)
*''Awakening'' for trumpet and percussion (2001)
*''The Whisperer'' for 2 pianos and 2 percussion (1999)
*''Piano Quartet'' for piano, violin, viola and cello (1999)
*''Vestiges of a Distant Time'' for orchestra (1996, revised 2003)
*''Soundings'' for clarinet, bassoon and piano (1994)
*''Variations'' for cello and chamber ensemble (1993)
*''Clarino'' for orchestra (1991, revised 1993, 1996)
*''Joyce Songs'' for mezzo-soprano, flute, clarinet and cello (1990, revised 1996)
*''Miniatures'' for clarinet (1989)
*''Piano Sonata'' (1988)
*''Metamorphosis'' for violin, cello, harp, 2 percussion, piano and celesta (1987)
*''Movement'' for string quartet (1985)

== Reviews and discussions==
* [http://www.uoregon.edu/~drcrumb/reviews.html List of Reviews on a University of Oregon Webpage]
* [https://web.archive.org/web/20070929071745/http://www.thirdangle.org/blog/2005/01/willamette-week-review-of-2-crumbs.html Comparison of George and David Crumb]
* [https://web.archive.org/web/20051107224804/http://www.orchestra2001.org/Reviews01-03/CD4NewMusCon.htm Review of the Cello Variations]

==References==
Presser. https://web.archive.org/web/20070711120929/http://www.presser.com/Composers/info.cfm?Name=DAVIDCRUMB 
Inside Oregon. http://darkwing.uoregon.edu/newscenter/4.2.05-MusicToday.html{{Dead link|date=July 2019 |bot=InternetArchiveBot |fix-attempted=yes }} 
University of Oregon. http://www.uoregon.edu/~drcrumb/honors.html

== Notes ==
{{Reflist}}

==External links==
*[http://www.uoregon.edu/~drcrumb/honors.html David Crumb homepage on University of Oregon Website]
*[https://web.archive.org/web/20070711120929/http://www.presser.com/Composers/info.cfm?Name=DAVIDCRUMB Bio of Presser Online]

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[[Category:American male classical composers]]
[[Category:American classical composers]]
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[[Category:University of Pennsylvania alumni]]
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[[Category:Pupils of Samuel Adler (composer)]]
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[[Category:21st-century American male musicians]]

Friedrich Cerha

2021-02-18T12:27:00Z

Invulgo: /* Wartime activities */ clarified the nature of Cehra's wartime resistance against the Nazi regime

{{short description|Austrian composer and conductor|bot=PearBOT 5}}
{{BLP sources|date=February 2013}}{{Infobox person
| name = Friedrich Cerha
| image = Friedrich Cerha 2006.jpg
| alt = Side profile of a smiling, silver haired, older, white man, wearing glasses and a brown velvet suit jacket, white shirt and a brown tie.
| caption = Friedrich Cerha, in 2006, celebrating his 80th birthday
| birth_date = {{Birth date and age|1926|02|17}}
| birth_place = [[Vienna]], [[Austria]]
| education = [[Vienna Music Academy]], [[University of Vienna]]
| occupation = [[Composer]] and [[Conducting|conductor]]
| years_active = 1958–present
| children = Ruth Cerha
}}
'''Friedrich Cerha''' (born 17 February 1926) is an Austrian [[composer]], [[Conducting|conductor]] and music educator.

==Education and Career==
Cerha was born in [[Vienna]], [[Austria]], and educated at the [[Viennese Music Academy]] (violin, composition, music education) and at the [[University of Vienna]] (music sciences, German culture and language, philosophy).

In 1958, together with [[Kurt Schwertsik]], he founded the Ensemble die reihe, which was an important instrument for the spreading of contemporary music in Austria. In addition to composing, Cerha earned a reputation as an interpreter of the works of [[Alban Berg]], [[Arnold Schoenberg]] and [[Anton Webern]]. This work included the completion of Alban Berg's unfinished three-act opera'' [[Lulu (opera)|Lulu]].'' Cerha orchestrated sections of the third act using Berg's notes as a reference. The opera was premiered by [[Pierre Boulez]] in [[Paris]] in 1979.<ref name="evs" />

Alongside his career as a composer, Cerha taught at the [[University of Music and Performing Arts Vienna|University of Music and Performing Arts]] in Vienna from 1959 and between 1976 and 1988 was [[Professor]] of Composition, Notation and Interpretation of New Music. Some of his notable students during this time include [[Georg Friedrich Haas]], [[Karlheinz Essl]],<ref name="evs" /> [[Petr Kotik]], [[Gerald Barry (composer)|Gerald Barry]] and [[Benet Casablancas]].

Cerha has produced both orchestral works and opera (among others, ''[[Baal (opera)|Baal]]'', ''[[Der Rattenfänger]]'', and ''[[Der Riese vom Steinfeld]]'', the latter commissioned by the [[Vienna State Opera]], with a [[libretto]] by [[Peter Turrini]]). Premiere performances of some of his recent works took place in January 2006 (e.g. ''Impulse'' for large orchestra, dedicated to the [[Vienna Philharmonic Orchestra]] on the occasion of its 150th anniversary) as well as in March 2006 (Concerto for Soprano Saxophone and Orchestra, written in 2004).

Cerha, and his wife Gertraud Cerha a music historian, were founder members of the [[Joseph Marx]] Society in April 2006.<ref>{{Cite web|title=The Executive Committee :: Joseph Marx Society|url=http://www.joseph-marx-gesellschaft.org/english/executive-committee.html|access-date=2020-12-14|website=www.joseph-marx-gesellschaft.org}}</ref>

== Wartime activities ==
Cerha was conscripted, aged 17, as a [[Luftwaffenhelfer]] and initially served in [[Achau]], near Vienna. During this time, he participated in a number of acts of resistance against the fascist regime.<ref>He started fighting actively against fascism as a student</ref> After a semester at the University of Vienna, he was sent to an Officer's school in occupied [[Denmark]]. While there, he obtained a number of blank, but signed, marching order papers and deserted. These papers allowed him to remain undetected within German territory for some time as he could use them as proof that he was supposed to be there. However, after a period, he was forced to rejoin a military unit, during an advance by the [[Russian Soviet Federative Socialist Republic|Russian]] forces near [[Pomerania]]. He deserted a second time and made his way to the west of Austria, where he lived in the mountains for several months, to avoid capture by the [[Allies of World War II|Allied forces]], until he was eventually able to return Vienna.<ref>[https://cba.fro.at/333495 "Wörtlich – Friedrich Cerha"], Radio Orange 94.0 Vienna, 16. u. 23. January 2017</ref>

==Decorations and awards==
* 1964: [[Theodor Körner Prize]]<ref name="Harrandt">{{cite encyclopedia |last=Harrandt |first=Andrea |title=Cerha, Friedrich |encyclopedia=Oesterreichisches Musiklexikon online |url=https://www.musiklexikon.ac.at/ml/musik_C/Cerha_Friedrich.xml |date=2001 |access-date=17 November 2019}}</ref>
* 1986: [[Grand Austrian State Prize for Music]]<ref name="Harrandt" />
* 1986: Gold Medal of the Province of Styria<ref name="Harrandt" />
* 1986: Honorary Medal of Vienna in gold<ref name="Harrandt" />
* 1988: Honorary Member of the [[Vienna Konzerthaus]]<ref name="Austria">{{cite web |date=2003 |url=https://austria-forum.org/af/Biographien/Cerha,_Friedrich |title=Cerha, Friedrich |website=austria-forum.org |publisher=TU Graz |access-date=17 November 2019}}</ref>
* 2005: [[Austrian Decoration for Science and Art]]<ref>{{cite web | url = http://www.parlament.gv.at/PAKT/VHG/XXIV/AB/AB_10542/imfname_251156.pdf | title = Reply to a parliamentary question | language = de | page=1665 | format = pdf | access-date = 5 January 2013 }}</ref>
* 2006: [[Golden Lion]] of the [[Venice Music Biennale]]<ref name="Harrandt" />
* 2007: Honorary Member of the [[Society of Friends of Music in Vienna]]<ref name="Austria" />
* 2008: Gold Medal for services to the City of Vienna<ref name="Harrandt" />
* 2010: Silver Commander's Cross of Honour for Services to the province of Lower Austria<ref name="Harrandt" />
* 2011: [[Salzburg Music Prize]]<ref name="Harrandt" />
* 2012: [[Ernst von Siemens Music Prize]]<ref name="Harrandt" /><ref name="evs">{{cite web |url=https://www.evs-musikstiftung.ch/en/prize/prize/archive/prize-winner-archive/friedrich-cerha/biography.html |title=Friedrich Cerha, Biography |website=evs-musikstiftung.ch |publisher=Ernst von Siemens Musikstiftung |access-date=18 November 2019}}</ref>

===Honorary doctorates===
* 2017: [[Universität Siegen]]<ref>{{cite web |url=http://www.kurienwissenschaftundkunst.at/mitglieder-kunst/friedrich-cerha/ |title=Cerha, Friedrich |website=kurienwissenschaftundkunst.at |publisher=Bundeskanzleramt |access-date=17 November 2019}}</ref>

== Notable Works ==

=== Operas ===

* ''Netzwerk'', 1981
* ''Baal'', 1974/81 – Text: [[Bertolt Brecht]]
* ''Der Rattenfänger'', 1987 – Text: [[Carl Zuckmayer]]
* Komplettierung der Oper ''Lulu'' von Alban Berg, 1962–78
* ''Der Riese vom Steinfeld'', 2002 – Text: [[Peter Turrini]], 2002
* ''Onkel Präsident'', 2013 – Text: [[Peter Wolf (producer)|Peter Wolf]] and Friedrich Cerha

=== Other works ===

* ''Spiegel I–VII'', 1960–72
* ''Sinfonie'', 1975
* ''Requiem für Hollensteiner'', 1982/83
* ''Baal-Gesänge'', 1983
* ''Keintaten'', 1983 ff.
* ''Momentum für [[Karl Prantl (sculptor)|Karl Prantl]]'', 1988
* ''Fünf Stücke für Klarinette in A, Violoncello und Klavier'', 1999–2000
* ''Konzert für Sopransaxophon und Orchester'', 2003–2004
* ''Konzert für Violine und Orchester'', 2004
* ''Quintett für Oboe und Streichquartett'', 2007
* ''Konzert für Schlagzeug und Orchester'', 2007–2008
* ''Like a Tragicomedy für Orchester'', 2008–2009
* ''Bruchstück, geträumt für Ensemble'', 2009
* ''Paraphrase über den Anfang der 9. Symphonie von Beethoven'', 2010
* ''Zebra-Trio'', for string trio, 2011
* ''Tagebuch für Orchester'', 2012
* ''Drei Sätze für Orchester'', 2015<ref>{{Cite web|title=Friedrich Cerha - Database|url=https://en.karstenwitt.com/artists/friedrich-cerha/database|access-date=2020-12-14|website=en.karstenwitt.com}}</ref>

==References==
{{Reflist}}

==External links==
*[http://www.friedrich-cerha.com Official Website]
*[http://www.newacademicpress.at/gesamtverzeichnis/geschichte/friedrich-cerha/ Biography Friedrich Cerha (Sabine Töfferl, New Academic Press 2017; German language)]
*[http://www.diereihe.at Ensemble "die reihe"]
*[http://www.universaledition.com/Friedrich-Cerha/composers-and-works/composer/130 Friedrich Cerha] biography and works on the UE website (publisher)]
*[http://www.essl.at/bibliogr/cerha-laudatio.html Laudation for Friedrich Cerha] by [[Karlheinz Essl Jr.|Karlheinz Essl]] (March 16, 2017)

{{Ernst von Siemens Music Prize}}

{{Authority control}}

{{DEFAULTSORT:Cerha, Friedrich}}
[[Category:1926 births]]
[[Category:Living people]]
[[Category:Musicians from Vienna]]
[[Category:Members of the European Academy of Sciences and Arts]]
[[Category:Recipients of the Grand Austrian State Prize]]
[[Category:Recipients of the Austrian Decoration for Science and Art]]
[[Category:Austrian male composers]]
[[Category:Austrian composers]]
[[Category:Male conductors (music)]]
[[Category:Pupils of Karlheinz Stockhausen]]
[[Category:Ernst von Siemens Music Prize winners]]
[[Category:Theodor Körner Prize recipients]]
[[Category:21st-century Austrian conductors (music)]]
[[Category:20th-century Austrian composers]]
[[Category:20th-century male musicians]]
[[Category:21st-century male musicians]]

Covfefe

2021-02-17T08:21:36Z

Invulgo: /* "Covfefe" tweet and public response */

{{Other uses}}
{{Short description|Word used by Donald Trump on Twitter}}
{{Use mdy dates|date=November 2020}}
{{Use American English|date=November 2020}}
{{Tweet
|text = Despite the constant negative press covfefe
|name = Donald J. Trump [[File:Twitter Verified Badge.svg|15px]]
|image= Donald Trump official portrait (cropped 2).jpg
|username = realDonaldTrump
|date = May 30, 2017
|ID = 869766994899468288
|width = 300px
|reference= <ref>{{Cite tweet |author= Donald J. Trump |user=realDonaldTrump |number=869766994899468288 |date=30 May 2017 |title=Despite the constant negative press covfefe|access-date=8 January 2021 |url-status=dead |archive-url=https://web.archive.org/web/20170531054122if_/https://twitter.com/realDonaldTrump/status/869766994899468288 |archive-date=31 May 2017}}</ref>
}}
'''Covfefe''' is a misspelling that then-[[President of the United States|U.S. President]] [[Donald Trump]] used in a [[Viral phenomenon|viral]] [[Twitter|tweet]] that instantly became an [[Internet]] [[meme]]. Six minutes after midnight ([[Eastern Time Zone|EDT]]) on May 31, 2017, Trump tweeted, "Despite the constant negative press covfefe".<ref name="NYT">{{cite news|work=[[The New York Times]]|url=https://www.nytimes.com/2017/05/31/us/politics/covfefe-trump-twitter.html|author=Matt Flegenheimer|title=What's a 'Covfefe'? Trump Tweet Unites a Bewildered Nation|date=May 31, 2017|access-date=September 10, 2019}}</ref> He deleted the tweet six hours later and implied that its wording was intentional. Most media outlets presumed that he had meant to type "coverage". [[White House Press Secretary]] [[Sean Spicer]] stated, "I think the president and a small group of people know exactly what he meant."<ref name="USAToday" /> The term has since been widely used in internet memes and inspires both popular-level and scholarly analysis of language and messaging by the administration.

== "Covfefe" tweet and public response ==
The tweet garnered intense attention in the news and on [[social media]], quickly becoming a [[viral phenomenon]]. Both the word and tweet produced a variety of cultural, economic, and social influences. The [[Volfefe index]] (for "volatility" and "covfefe"), created by [[JPMorgan Chase]] in 2019, likewise measures the impact of President Trump's tweets on the U.S. bond yields.<ref name="Vox" /> Covfefe is one of Trump's most famous tweets.<ref>{{cite news|url=https://www.cnet.com/news/donald-trump-smockinggun-typo-sets-twitter-on-fire/|quote=Twitter user Matthew Kick gave a humorous shout-out to one of Trump's most famous Twitter spellings of all time, the mysterious "covfefe" back in 2017|title=Donald Trump #SmockingGun typo sets Twitter on fire|work=[[CNET]]|author=Amanda Kooser|date=December 10, 2018|access-date=September 10, 2019}}</ref><ref>{{cite news|url=https://thehill.com/blogs/blog-briefing-room/news/420731-conways-husband-helps-former-obama-acting-solicitor-general-in|title=George Conway mocks Trump's misspellings|work=[[The Hill (newspaper)|The Hill]]|author=Morgan Gstalter|date=December 11, 2018|access-date=September 10, 2019|quote=Katyal, who previously worked under former President Obama, trolled some of Trump's most famous spelling errors by asking why Starbucks "cofefe" was always "smocking hot."}}</ref><ref>*{{cite news|url=https://theweek.com/speedreads/846752/daily-show-trolling-trump-birthday-ads-fox-news|title=The Daily Show will be trolling Trump on his birthday with ads on Fox News|work=[[The Week]]|quote=The pop-up exhibit, which has already traveled to Los Angeles, Chicago, and New York, features some of the president's most famous tweets, such as the ever-mysterious "covfefe." |date=June 12, 2019}}*{{cite news|url=https://www.washingtonpost.com/news/powerpost/paloma/the-technology-202/2019/07/12/the-technology-202-trump-s-social-media-summit-was-a-spectacle-here-are-the-real-takeaways-for-big-tech/5d275384a7a0a47d87c570dd/|work=[[The Washington Post]]|title=The Technology 202: Trump's social media summit was a spectacle. Here are the real takeaways for Big Tech.|author=Cat Zakrzewski|date=July 12, 2019|access-date=September 10, 2019|quote=Large posters of some of President Trump's most famous tweets were placed on stands. My colleague Philip Bump spotted a tweet about the president's "covfefe" typo next to the bust of Abraham Lincoln.}}</ref>

Trump tweeted at 12:06 a.m. [[Eastern Time Zone|EDT]] on May 31, 2017, "Despite the constant negative press covfefe", and nothing else.<ref name="NYT" />
Media outlets have presumed that "covfefe" was a mistyping of the word "coverage".<ref>{{cite news|work=[[The Independent]]|url=https://www.independent.co.uk/life-style/gadgets-and-tech/news/covfefe-donald-trump-tweet-twitter-what-mean-write-negative-press-us-media-president-late-night-a7764496.html|title=Covfefe: What Does Donald Trump's Tweet Actually Mean and What Was He Trying to Write?|author=Andrew Griffin|date=May 31, 2017|access-date=September 9, 2019}}</ref><ref>{{cite news|work=[[BBC News]]|url=https://www.bbc.com/news/uk-48212456|title=When spelling goes wrong: Famous typos from Trump to NASA|date=May 9, 2019|access-date=September 9, 2019}}</ref><ref>{{cite news|url=https://www.latimes.com/opinion/readersreact/la-ol-le-trump-covfefe-tweet-20170603-story.html|work=[[Los Angeles Times]]|title=Opinion: Don't laugh off 'covfefe,' readers say — it could indicate problems with Trump and our culture|author=Paul Thornton|date=June 3, 2017|access-date=September 9, 2019}}</ref><ref>{{cite news|work=Mashable|url=https://mashable.com/2017/05/31/donald-trump-covfefe-tweet/|title=People are going 'covfefe' over Donald Trump's 'covfefe' tweet|date=May 31, 2017|author=Jonny Lieu|access-date=September 9, 2019}}</ref> Trump deleted the tweet approximately six hours later.<ref name="NYT" /><ref name="ABC17">{{cite news|work=[[ABC News]]|url=https://abcnews.go.com/US/trumps-covfefe-heard-round-world/story?id=47739450|title=Spicer on 'covfefe': 'The president and a small group of people know exactly what he meant'|author=Tom Kutsch|date=May 31, 2017|access-date=September 9, 2019}}</ref>

"Covfefe" quickly went [[viral phenomenon|viral]] and generated both jokes and speculations in social media and on the news about its meaning. It was retweeted more than 105,000 times, garnered more than 148,000 likes,<ref name="ABC17"/> and created a viral [[Internet meme]] on the morning of May 31.<ref>{{cite news|work=Vox.com|url=https://www.vox.com/culture/2017/6/2/15728656/covfefe-trump-wonder-woman-alamo-we-rate-dogs|title=Covfefe kerfuffles, partisan dogs, and Wonder Woman wars: the week in memes, explained.|author=Aja Romano|date=June 3, 2017|access-date=September 9, 2019}}</ref> The [[hashtag]] '''#covfefe''' had been used on the Internet 1.4 million times within 24 hours of Trump's tweet.<ref>{{cite news|url=https://www.bbc.com/news/world-42251490|work=[[BBC News]]|title=#MeToo, #TakeAKnee and #Covfefe: Hashtags that dominated in 2017|date=December 27, 2017|access-date=September 10, 2019}}</ref>

Trump never acknowledged that the tweet contained a mistyping. He instead tweeted again at 6:09 a.m. after deleting the original tweet: "Who can figure out the true meaning of 'covfefe' ??? Enjoy!"<ref>{{Cite web|title=Tweet from Donald Trump: "Who can figure out the true meaning of 'covfefe' ??? Enjoy!"|url=https://twitter.com/realdonaldtrump/status/869858333477523458|access-date=August 1, 2020|url-status=dead|archive-url=https://web.archive.org/web/20201215200808/https://twitter.com/realdonaldtrump/status/869858333477523458|archive-date=2020-12-15|website=Twitter|language=en}}</ref> White House press secretary [[Sean Spicer]] implied later that day that the tweet was not a typo but rather intentional: "I think the president and a small group of people know exactly what he meant."<ref name="USAToday">{{cite news|author=Estepa|first=Jessica|date=May 31, 2017|title=Sean Spicer says 'covfefe' wasn't a typo: Trump knew 'exactly what he meant'|work=[[USA Today]]|url=https://www.usatoday.com/story/news/politics/onpolitics/2017/05/31/sean-spicer-says-covfefe-wasnt-typo-trump-knew-exactly-what-he-meant/102355728/|access-date=September 9, 2019}}</ref>

The [[Google Search]] term "covfefe" surpassed the search term "Paris climate" (in reference to the [[Paris Agreement|2015 Paris Climate agreement]]) on May 31, the same day Trump indicated that the U.S. may withdraw from the [[Paris Agreement]].<ref>{{cite news|url=https://fortune.com/2017/05/31/covfefe-trump-paris-climate/|title=Trump 'Covfefe' Tweet More Searched Than Paris Climate Agreement|work=[[Fortune (magazine)|Fortune]]|author=Stacy Jones|date=May 31, 2017|access-date=September 9, 2019}}</ref>

Trump referenced the word in May 2018 by pronouncing it in a White House video about the auditory illusion [[Yanny or Laurel]]. He stated near the end of the video: "I hear 'covfefe'."<ref>{{cite news|work=[[CNBC]]|url=https://www.cnbc.com/2018/05/18/donald-trump-says-covfefe-yanny-laurel-debate.html|title=We now know how to pronounce 'covfefe' — thanks to President Trump's appearance in a White House 'Yanny or Laurel' video|author=Darren Geeter|date=May 18, 2018|access-date=September 9, 2019}}</ref>

An analyst for ''[[The Washington Post]]'', Philip Bump wrote in July 2019 that the covfefe tweet represented President Trump's refusal to admit minor misstatements.<ref>{{cite news|work=The Washington Post|author=Philip Bump|quote=This inability to admit misstatements has no more extreme example than his infamous "covfefe" tweet from 2017.|url=https://www.washingtonpost.com/politics/2019/07/05/problem-with-trumps-revolutionary-war-airports-isnt-airports/|title=The problem with Trump's Revolutionary War airports isn't the airports|date=July 5, 2019|access-date=September 9, 2019}}</ref> Other Trump critics in the media expressed similar opinions.<ref>{{cite news|work=[[The Atlantic]]|url=https://www.theatlantic.com/ideas/archive/2019/09/trumps-pointless-lie-hurricane-dorian-and-alabama/597469/|title=Trump's Most Pointless Lie|author=David A. Graham|date=September 5, 2019|access-date=September 9, 2019|quote=Not since "covfefe," a similarly absurdist episode, has Trump stuck so insistently to a pointless lie, though even that moment was over faster.}}</ref><ref>{{cite news|url=https://www.al.com/news/2019/09/trumps-alabama-dorian-debacle-shows-he-refuses-to-be-wrong.html|title=Trump's Alabama Dorian debacle shows he refuses to be wrong|agency=Associated Press|work=[[al.com]]|date=September 6, 2019|access-date=September 9, 2019|quote=And even when Trump mistakenly tweeted the nonsensical word "covfefe" late one night, the president, instead of owning up to a typo or errant message, later sent Spicer to declare, "I think the president and a small group of people know exactly what he meant."}}</ref>

==Influence==

[[File:The Covfefe Presidency (34287334213).jpg|thumb|alt=The Covfefe Presidency, by Mike Licht|The Covfefe Presidency, by Mike Licht]]

Writing for ''[[The Atlantic]]'' in January 2019, journalist [[Adrienne LaFrance]] summarized the significance of the covfefe tweet: "Covfefe remains the tweet that best illustrates Trump's most preternatural gift: He knows how to captivate people, how to command, and divert the attention of the masses."<ref name="AT">{{cite news|author=LaFrance|first=Adrienne|author-link=Adrienne LaFrance|date=January 13, 2019|title=Six Hours and Three Minutes of Internet Chaos.|work=The Atlantic|url=https://www.theatlantic.com/politics/archive/2019/01/covfefe-trump-typo-turned-meme/579763/|access-date=September 9, 2019}}</ref>

The covfefe [[meme]] produced a variety of follow-up effects in culture, language, and business. While marking the first anniversary of the covfefe tweet in May 2018, a ''[[USA Today]]'' article noted: "But did the president know what he had wrought on U.S. culture? The memes. The songs. The jokes."<ref>{{cite news|url=https://www.usatoday.com/story/news/politics/onpolitics/2018/05/31/covfefe-one-year-anniverary-donald-trumps-confusing-tweet/659414002/|work=USA Today|title=Covfefe, one year later: How a late-night Trump tweet turned into a phenomenon|author=Jessica Estrepa|date=May 31, 2018|access-date=September 8, 2019}}</ref>

===In language and politics===
The [[Urban Dictionary]] quickly added an entry for "covfefe" on the day of the tweet, defining it as follows: "It literally means covfefe."<ref>{{cite web|work=[[Heavy.com]]|url=https://heavy.com/news/2017/05/trump-covfefe-tweet-definition-dictionary-what-does-mean-donald-typo/|title=Donald Trump & 'Covfefe' Tweet: What Did He Mean?|author=Jessica McBride|date=May 31, 2017|access-date=September 9, 2019}}</ref> The popular word game ''[[Words with Friends]]'' added "covfefe" to its dictionary in June 2017.<ref>{{cite news|work=[[Mashable]]|author=Nicole Gallucci|url=https://mashable.com/2017/06/01/words-with-friends-covfefe-dictionary/|title=Words with Friends adds 'covfefe' to its dictionary, 'covfefe' is officially dead|date=June 1, 2017|access-date=September 8, 2019}}</ref>

[[Dictionary.com]] announced that "covfefe" topped its list of 'unmatched queries' in October 2017 and continued to have the most user searches for a word without an entry.<ref>{{cite news|work=[[Chicago Tribune]]|url=https://www.chicagotribune.com/columns/heidi-stevens/ct-life-stevens-wednesday-covfefe-most-looked-up-word-1018-story.html|title=A covfefe by any other name ... might not have made dictionary.com's most-queried list|author=Heidi Stevens|date=October 18, 2017|access-date=September 8, 2019}}</ref> ''[[Brewer's Dictionary of Phrase and Fable]]'' added an entry for "covfefe" to its 20th edition in October 2018.<ref>{{cite news|url=https://www.telegraph.co.uk/books/what-to-read/guide-new-words-2018-brewers-dictionary/|work=[[The Daily Telegraph]]|title=Covfefe, kompromat, and mugwump: your guide to every new word in the 2018 Brewer's Dictionary|author=Tristram Fane Saunders|date=October 31, 2018|access-date=September 8, 2019}}</ref>

[[Lake Superior State University]] included "covfefe" in its [[Banished Word List|'43rd annual List of Words Banished from the Queen's English for Misuse, Overuse and General Uselessness']] in December 2017. The university's spokesperson noted that the word "became shorthand for a social media mistake".<ref>{{cite news|url=https://www.denverpost.com/2017/12/30/banished-words-lake-superior-state-university/|work=[[Denver Post]]|author=Jeff Karoub|title=List bans "fake news," "covfefe" and "let me ask you this"|date=December 30, 2017|access-date=September 8, 2019}}</ref>

"Covfefe" now often invokes when public figures, businesses, and organizations discuss gaffes in public discourse. Among Trump's subsequent misspellings and mis-speakings, "text massages",<ref>{{cite news|author=Chhetri|first=Priyam|date=August 12, 2018|title=No happy ending: Donald Trump has another 'covfefe' moment, asks FBI to give Andrew McCabe 'text massages'|work=Media Entertainment Arts WorldWide (MEAWW)|url=https://meaww.com/donald-trump-twitter-typo-text-massage|url-status=live|access-date=September 7, 2019}}</ref> "President Of The [[United States Virgin Islands|Virgin Islands]]",<ref>{{cite web|url=https://jimheath.tv/2018/09/trump-said-he-met-with-the-president-of-the-virgin-islands-not-realizing-its-himself/|work=jimheath.tv|title=Trump Said He Met With The President Of The Virgin Islands… Not Realizing It's Himself|author=Jim Heath|date=September 22, 2018|access-date=September 7, 2019}}</ref> "the oranges of the investigation", "smocking gun",<ref>{{cite news|url=https://www.salon.com/2018/12/10/smocking-gun-is-the-new-covfefe-twitter-erupts-after-trump-misspells-the-same-word-twice/|work=[[Salon (website)|Salon]]|title="Smocking gun" is the new "covfefe": Twitter erupts after Trump misspells the same word twice|author=Matthew Rozsa|date=December 10, 2018|access-date=September 7, 2019}}</ref> "hamberders",<ref>{{cite news|url=https://www.independent.ie/world-news/and-finally/hamberders-and-covfefe-trumps-latest-misspelling-amuses-social-media-37714111.html|title='Hamberders and covfefe': Trump's latest misspelling amuses social media|author=Max McLean|work=[[Irish Independent]]|date=January 15, 2019|access-date=September 7, 2019}}</ref> "Melanie",<ref>{{cite news|url=https://www.glamour.com/story/donald-trump-melania-misspelling|title=Donald Trump Misspelled Melania's Name While Congratulating Her, and It's the 'Covfefe' of 2018|work=[[Glamour.com]]|author=Samantha Leach|date=May 19, 2018|access-date=September 8, 2019}}</ref> "Prince of Whales",<ref>{{cite news|url=https://www.independent.ie/world-news/and-finally/twitter-erupts-after-donald-trumps-prince-of-whales-gaffe-38217182.html|work=[[Irish Independent]]|title=Twitter erupts after Donald Trump's Prince of Whales gaffe|author=Max McLean|date=June 13, 2019|access-date=September 8, 2019}}</ref> "global waming",<ref>{{Cite web|url=https://www.washingtonpost.com/weather/2019/01/20/dear-mr-president-thats-not-how-global-warming-works/|title=What President Trump keeps getting wrong about 'Global Waming'|last=Paul|first=Deanna|date=January 29, 2019|website=The Washington Post|access-date=November 13, 2019}}</ref> "hustory",<ref>{{Cite tweet |user=realdonaldtrump |number=1275210912077680640|access-date=June 24, 2020| date=June 22, 2020 |language=en |title=WOW! The Trump Rally gives @FoxNews the "LARGEST SATURDAY NIGHT AUDIENCE IN ITS HUSTORY". Isn't it amazing that virtually nobody in the Lamestream Media is reporting this rather major feat!|url-status=dead |archive-url=https://web.archive.org/web/20200718194918/https://twitter.com/realdonaldtrump/status/1275210912077680640 |archive-date=18 July 2020}}</ref> and others compare in the media to the covfefe tweet.

[[File:Flashmob For Truth (35057515796).jpg|thumb|alt=Protester holding a 'Truth not "Covfefe"' sign.|A protester holding a 'Truth not "Covfefe"' sign.]]

Gaffes by [[Joe Biden]],<ref>{{cite news|url=https://www.baltimoresun.com/opinion/editorial/bs-ed-20190814-hbzwffyom5a6lomngajk3p2oqa-story.html|work=[[The Baltimore Sun]]|title=Alternative Fact of the Week: Trump on Biden's gaffes — the pot calling the kettle covfefe|date=August 14, 2019|access-date=September 7, 2019}}</ref> [[McDonald's]],<ref>{{cite web|url=https://www.mediapost.com/publications/article/310658/mcdonalds-covfefe-moment-attributes-early-mornin.html|author=Joe Mandese|work=MediaPost|title=McDonald's Covfefe Moment: Attributes Early Morning Tweet To Lack Of McCafe|date=November 24, 2017|access-date=September 7, 2019}}</ref> India's Ministry of Finance,<ref>{{cite news|url=https://www.outlookindia.com/website/story/when-ministry-of-finance-has-a-covfefe-moment/303248|work=[[Outlook India]]|title=When Ministry Of Finance Has A Covfefe Moment|date=October 27, 2017|access-date=September 7, 2019}}</ref> [[Philippines]] President [[Rodrigo Duterte]],{{citation needed|date=December 2020}} Indian writer and politician [[Shashi Tharoor]],<ref>{{cite web|url=https://www.india.com/buzz/shashi-tharoor-commits-a-typo-in-his-tweet-and-the-twitterati-was-quick-to-crack-jokes-at-his-expense-2632289/|title=Shashi Tharoor Commits a Typo in His Tweet And The Twitterati Was Quick To Crack Jokes At His Expense|work=[[India.com]]|author= Vandana.Srivastawa|date=November 14, 2017|access-date=September 8, 2019}}</ref> British journalist [[Andrew Marr]],<ref>{{cite news|url=https://www.bbc.co.uk/bbcthree/article/91a31162-b6e9-4f56-ae37-5fe20847884d|work=[[BBC News]]|title=The most 2017 tweets of 2017
|date=December 21, 2017|access-date=September 8, 2019}}</ref> former [[President of Russia]] [[Dmitry Medvedev]],<ref>{{cite news|work=Meduza|url=https://meduza.io/shapito/2019/06/12/dmitriy-medvedev-napisal-dva-zagadochnyh-tvita-vk-mho-cucumber-da-chto-eto-voobsche-znachit|title=Дмитрий Медведев написал два загадочных твита. "Vk mho cucumber" — да что это вообще значит?|date=June 12, 2019|access-date=September 9, 2019}}</ref> and [[Burger King]]<ref>{{cite news|url=https://www.thrillist.com/news/nation/burger-king-tweets-confusing-typo|work=[[Thrillist]]|title=Burger King Tweeted Something Super Weird & People Are Kind of Concerned|author=Sam Blum|date=August 15, 2018|access-date=September 10, 2019}}</ref> also evoked comparisons to covfefe in the media.

Other uses of "covfefe" involve word play on similarity with the word "coffee".<ref>{{cite web|url=https://www.foodandwine.com/news/covfefe-will-live-beer-or-coffee|work=foodandwine.com|title='Covfefe' Could Live On As Beer or Coffee|author=Rebekah Lowin|date=June 7, 2017|access-date=September 10, 2019|quote= It's a natural fit, after all; "covfefe" looks (and, depending on how you pronounce it, sounds) nearly identical to "coffee."}}</ref> Examples include a coffee shop called "Covfefe Café",<ref>{{cite news|url=https://www.beaumontenterprise.com/news/article/Covfefe-Cafe-aims-to-get-people-talking-14070626.php|work=[[Beaumont Enterprise]]|title=Covfefe Cafe aims to get people talking|author=Alyssa Faykus|date=July 5, 2019|access-date=September 9, 2019}}</ref> a beer called "'No Collusion' Russian Imperial Coffee 'Covfefe' Stout",<ref>{{cite news|url=https://www.burlingtonfreepress.com/story/life/2019/02/01/local-brewery-covfefe-drop-in-russian-imperial-coffee-stout-beer-vermont/2720920002/|work=[[Burlington Free Press]]|title=Covfefe in a can: We try Drop-In Brewing's 'No Collusion' Russian Imperial Coffee Stout|author=Brent Hallenbeck|date=February 1, 2019|access-date=September 10, 2019}}</ref> various covfefe coffee drinks,<ref>{{cite news|url=https://www.usatoday.com/story/news/politics/onpolitics/2017/06/08/d-c-s-shaws-tavern-throws-covfefe-watch-comey-hearings-draws-line-around-block-9-15-a-m/380864001/|work=USA Today|title=Shaw's Tavern throws a 'covfefe' to watch the Comey testimony in D.C., draws line around the block by 9:15 a.m.|author=Sydney C. Greene|date=June 8, 2017|access-date=September 10, 2019}}</ref><ref>{{cite news|url=https://www.masslive.com/news/worcester/2017/06/lalajava_in_northborough_brewi.html|work=MassLive|title=Lalajava in Northborough brewing up a little fun with 'Covfefe Coffee' after President Donald J. Trump's tweet|author=Scott J. Croteau |date=June 5, 2017|access-date=September 10, 2019}}</ref> an alcoholic coffee cocktail "Covfefe",<ref>{{cite news|url=https://www.chicagotribune.com/redeye/ct-redeye-coffee-cocktails-chicago-20170928-story.html|work=Chicago Tribune|title=10 buzzworthy coffee cocktails around Chicago|author=Audrey Gordon|date=September 27, 2017|access-date=September 10, 2019}}</ref> a coffee and tea ad by [[Amul]],<ref>{{cite news|url=https://indianexpress.com/article/trending/trending-in-india/donald-trump-covfefe-amul-cartoon-4687652/|work=[[Indian Express]]|title=Amul's witty take on Donald Trump's new word 'covfefe' is perfect!|date=December 3, 2017|access-date=September 10, 2019}}</ref> a pro-Trump coffee brand "Covfefe Coffee", etc.<ref name="MM"/>

Anti-Trump protesters at various events also use signs featuring variations on the covfefe theme.<ref>{{cite news|work=[[Independent Journal Review]]|title=Here's the Footage From the UK Protests Trump Called 'Fake News'|url=https://ijr.com/footage-uk-protests-trump-called-fake-news/|author=Lizzie Helmer|date=June 4, 2019|access-date=September 10, 2019}}</ref><ref>{{cite news|url=https://www.huffpost.com/entry/best-signs-equality-march-resist-march_n_593d980be4b0b13f2c6b7f09|work=[[Huffington Post]]|title=Here Are Some Of The Best Signs From The Equality And Resist Marches|author=Noah Michelson|date=June 11, 2017|access-date=September 10, 2019}}</ref><ref>{{cite news|url=https://variety.com/2017/biz/news/donald-trump-los-angeles-resist-march-pride-lgbt-1202461966/|title=LGBTQ Resist March Draws Heavily on Anger Over President Donald Trump|work=[[variety.com]]|author=Ted Johnson|date=June 11, 2017|access-date=September 10, 2019}}</ref>

Journalist Tom Nicholson put covfefe as number one in a top-five list of Donald Trump's "linguistic triumphs" in a December 2018 article for ''[[Esquire (magazine)|Esquire]]'', with the story's byline being "It's hard to imagine a dictionary without 'covfefe' in it now."<ref>{{cite news|title=Trump's 'Smocking Gun' And Five More Times He Bent The English Language To His Will|work=[[Esquire (magazine)|Esquire]]|author=Tom Nicholson|url=https://www.esquire.com/uk/latest-news/a25468328/trumps-smocking-gun-and-five-more-times-he-bent-the-english-language-to-his-will/|date=December 11, 2018|access-date=September 9, 2019}}</ref>

===In law===
{{Main|COVFEFE Act}}

U.S. Representative [[Mike Quigley (politician)|Mike Quigley]] introduced H.R.2884, "The Communications Over Various Feeds Electronically for Engagement Act (COVFEFE Act)" on June 12, 2017.<ref>{{cite news|url=https://6abc.com/society/covfefe-beyonces-twins-and-more-moments-that-broke-the-internet-/4649453/|work=[[WPVI-TV]]|title=Yanny vs. Laurel, 'covfefe', Beyonce's twins and more moments that broke the internet|author=Danny Clemens|date=November 21, 2018|access-date=September 9, 2019}}</ref> It would require the [[National Archives]] to preserve and store social media posts by the [[President of the United States]]. The bill referred to the [[House Committee on Oversight and Government Reform]] on the same day but saw no further congressional action.<ref>[https://www.congress.gov/bill/115th-congress/house-bill/2884/actions H.R.2884 – COVFEFE Act of 2017, Actions Overview], [[Congress.gov]]. Accessed September 10, 2019.</ref>

===In business and commerce===
The covfefe tweet quickly spawned a variety of merchandise items (e.g., t-shirts, coffee mugs, hats, and bags) bearing covfefe-related inscriptions.<ref>{{cite news|work=Mashable|url=https://mashable.com/2017/05/31/covfefe-trash-merchandise/|title=Of course 'covfefe' has already spawned a cottage industry of garbage swag|author=Patrick Kulp|date=May 31, 2017|access-date=September 9, 2019}}</ref><ref>{{cite journal|journal=Middle West Review|author=Sarah Dennis|title=Cedar Rapids by Miguel Arteta (review)|volume=4|issue=1|year=2017|pages=199–201|doi=10.1353/mwr.2017.0081|s2cid=188964457|quote=Although Raygun continues to release current events slogans beyond presidential elections (a recent shirt declares, "We have nothing to fear but covfefe"), the brand's primary offerings are local color slogans that simultaneously celebrate and satirize midwestern identity.}}</ref>

Covfefe inspired several board games,<ref>{{cite web|url=https://boardgamegeek.com/boardgame/228606/covfefe-game|work=[[BoardGameGeek]]|title=Covfefe: The Game (2018)|access-date=September 9, 2019}}</ref><ref>{{cite web|url=https://www.teacherspayteachers.com/Product/COVFEFE-the-Vocabulous-Board-Game--3543451|work=Teachers Pay Teachers|title=COVFEFE! -the Vocabulous Board Game!-|date=September 9, 2019}}</ref><ref>{{cite web|url=https://www.etsy.com/listing/523060352/covfefe-the-game-with-the-best-words|work=[[Etsy]]|title=Covfefe: The Game with the Best Words|access-date=September 9, 2019}}</ref> a caffeine tracker app,<ref>{{cite web|url=https://apps.apple.com/vg/app/ok138-covfefe/id1474436118|title=OK138 Covfefe|work=[[Apple store]]|access-date=September 9, 2019}}{{Dead link|date=July 2020 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> puzzles,<ref>{{cite web|url=https://play.google.com/store/apps/details?id=com.CoffeeStudiosGr.Confefe&hl=en_SG|work=Apps on Google Play|title=Covfefe Puzzle|access-date=September 9, 2019}}</ref> gifts,<ref>{{cite web|url=https://www.zazzle.com/covfefe+gifts|work=[[Zazzle]]|title=Covfefe Gifts|access-date=September 9, 2019}}</ref> toilet paper,<ref>{{cite news|work=[[NBC News]]|url=https://www.nbcnews.com/storyline/2018-state-of-the-union-address/anti-trump-resistance-turns-year-old-grows-n838821|title=The anti-Trump 'Resistance' turns a year old — and grows up|author=Alex Seitz-Wald|date=January 18, 2019|access-date=September 10, 2019}}</ref> and other products.

Including both supporters and opponents of Trump, residents of 21 U.S. states obtained customized "Covfefe" [[license plate]]s by February 2018.<ref>{{cite news|author=David Millward|date=February 4, 2018|title=Donald Trump leaves lasting 'covfefe' legacy as motorists immortalise presidential tweet on licence plates|work=The Daily Telegraph|url=https://www.telegraph.co.uk/news/2018/02/04/donald-trump-leave-lasting-covfefe-legacy-motorists-immortalise/|access-date=September 10, 2019}}</ref> The state of [[Georgia (U.S. state)|Georgia]] prohibits the use of this word on [[Vanity plate|vanity license plates]].<ref>{{cite web|title='Covfefe' on list of vanity license plates banned in Georgia|url=http://www.myajc.com/news/local/covfefe-list-vanity-license-plates-banned-georgia/2EkWhfjlfVKHpTB5ysP6aL/|last1=Lamm|first1=Stephanie|website=myAJC|publisher=[[Cox Media Group]]|language=en|url-status=live|archive-url=https://web.archive.org/web/20170627150814/https://www.myajc.com/news/local/covfefe-list-vanity-license-plates-banned-georgia/2EkWhfjlfVKHpTB5ysP6aL/|archive-date=June 27, 2017|access-date=July 2, 2017}}</ref>

[[File:Covfefe Cocktail (34556037114).jpg|thumb|alt=Photo of a sign advertising a Covfefe cocktail.|A coffee shop sign advertising a Covfefe cocktail.]]

A 2018 [[Google Chrome]] extension called Covfefe allows [[Twitter]] users to correct misspellings in their earlier tweets.<ref>{{cite news|url=https://www.businessinsider.com/how-to-edit-tweets-covfefe-google-chrome-2018-7|work=[[Business Insider]]|title=Someone finally made a simple way to edit your tweets, inspired by President Trump's famous 'covfefe' typo|author=Kaylee Fagan |date=July 20, 2018|access-date=September 8, 2019}}</ref>

[[Amazon (company)|Amazon]] pulled "Covfefe Coffee", a pro-Trump coffee brand promoted by a number of conservative commentators, due to its ads' usage of the [[Flag of the United States|U.S. flag]] in January 2019.<ref name="MM">{{cite news|url=https://www.theminutemanblog.com/2019/01/07/covfefe-coffee-banned-from-amazon-ads-for-american-flag/|work=The Minuteman|title=Covfefe Coffee Banned From Amazon Ads For American Flag|author=T. Arthur Mason|date=January 7, 2019|access-date=September 8, 2019}}</ref>

Upholding the denial of one of such applications, a January 2019 decision by [[Trademark Trial and Appeal Board]] of the [[United States Patent and Trademark Office|USPTO]] concluded that the word "covfefe" was too commonly used in a variety of contexts and therefore cannot trademark for any specific product.<ref>{{cite journal|url=http://www.aublr.org/2019/03/president-trumps-viral-term-covfefe-cannot-be-used-as-a-trademark-board-rules/|title=PRESIDENT TRUMP'S VIRAL TERM "COVFEFE" CANNOT BE USED AS A TRADEMARK, BOARD RULES|author=Mariam Jaffrey|journal=American University Business Law Review|date=March 4, 2019|access-date=September 9, 2019}}</ref> At least 40 [[trademark]] applications filed with the [[United States Patent and Trademark Office]] for various kinds of covfefe-themed merchandise; none of those applications have been granted as of March 2019.<ref>{{cite web|url=https://abovethelaw.com/2019/03/trumped-by-covfefe-ii-yet-another-reason-not-to-trademark-trending-names-and-catchphrases/?rf=1|title=Trumped By 'Covfefe' II: Yet Another Reason NOT To Trademark Trending Names And Catchphrases|author=Tom Kulik|work=[[Above the Law (website)|Above the Law]]|date=March 11, 2019|access-date=September 9, 2019}}</ref>

Using inspiration from the covfefe tweet, [[JPMorgan Chase]] created a "[[Volfefe index]]" in September 2019 to measure the impact of Trump's tweets on the U.S. bond yields.<ref name="Bl">{{cite news|url=https://www.bloomberg.com/news/articles/2019-09-09/jpmorgan-creates-volfefe-index-to-track-trump-tweet-impact|work=[[Bloomberg.com]]|title=JPMorgan Creates 'Volfefe' Index to Track Trump Tweet Impact|author=Tracy Alloway|date=September 8, 2019|access-date=September 9, 2019}}</ref> The name "volfefe" is a [[portmanteau]] of the words "volatility" and "covfefe".<ref name="Vox">{{cite news|work=[[Vox (website)|Vox]]|url=https://www.vox.com/policy-and-politics/2019/9/9/20857451/trump-stock-market-tweet-volfefe-jpmorgan-twitter|title=The Volfefe Index, Wall Street's new way to measure the effects of Trump tweets, explained|author=Emily Stewart|date=September 9, 2019|access-date=September 10, 2019}}</ref>

==In horse racing==
{{Main|Covfefe (horse)}}
A [[bay (horse)|bay]] filly born in 2016, named [[Covfefe (horse)|Covfefe]], won several Graded Stake races in 2018 and 2019, including the 2019 Breeders' Cup Filly and Mare Sprint. She earned more than one million [[United States dollar|USD]].<ref name="BH">{{cite web|url=https://www.bloodhorse.com/horse-racing/thoroughbred/covfefe/2016|title=Covfefe|work=bloodhorse.com|access-date=September 7, 2019}}</ref><ref>{{cite web|url=http://www.thoroughbreddailynews.com/inside-the-winners-circle-covfefe/|title=Inside the Winner's Circle: Covfefe|work=thoroughbreddailynews.com|author=Bill Finley|date=August 6, 2019|access-date=September 7, 2019}}</ref><ref name="BC">{{cite web|url=https://www.breederscup.com/article/true-meaning-covfefe|work=breederscup.com|title=FUTURE STARS FRIDAY SPOTLIGHT: THE TRUE MEANING OF COVFEFE|access-date=September 7, 2019}}</ref>

==In literature, art, and entertainment==

Trump critic Najah Mahir published a book ''The Ransom that Lies Demand: We the People and "Covfefe"'' in 2018<ref>{{cite book|title=The Ransom that Lies Demand: We the People and "Covfefe"|author=Najah Mahir|publisher=Dorrance Publishing|url=https://books.google.com/books?id=_Op_DwAAQBAJ|year=2018|isbn=9781480990531}}</ref> that he described as "a nonfiction book that boldly serves as part of a movement to attain knowledge and freedom while rejecting racism and harmful ideologies".<ref>{{cite web|url=http://www.prleap.com/pr/267544/riviera-beach-fl-author-publishes-book-on|author=Jessica Stillwell|work=Dorrance Publishing|title=Riviera Beach, FL Author Publishes Book on Female Oppression|date=January 25, 2019|access-date=September 9, 2019}}</ref>

A game created by [[Paradox Interactive]] in May 2016, ''[[Stellaris (video game)|Stellaris]]'', listed the "Covfefe" star system name as an in-game Easter egg.<ref>{{Cite web|url=https://stellaris.paradoxwikis.com/Easter_eggs#System_names|title=Easter eggs |website=Stellaris Wiki}}</ref>

The video game ''[[Minecraft]]'' has a splash text on the title screen referencing covfefe.<ref>{{Cite web|url=https://minecraft.gamepedia.com/Splash|title=Splash|website=Minecraft Gamepedia|quote=The true meaning of covfefe }}</ref>

A public art project started in January 2018 by an American artist Diana Weymar features covfefe-themed art, documenting Trump's Twitter mishaps.<ref>{{cite news|url=https://www.ndtv.com/offbeat/the-woman-who-knitted-donald-trumps-tweets-2092360|title=The Woman Who Knitted Donald Trump's Tweets|work=[[NDTV]]|author=Sanya Jain|date=August 29, 2019|access-date=September 10, 2019}}</ref>

A December 2018 art rug design "Caught in the Covfefe" by a textile artist Polly Webber is immigration themed and "portrays a border patrol officer taking a young girl from her undocumented mother, who pleads in [[Spanish language|Spanish]], 'Don't take my daughter!{{'"}}<ref>{{cite news|url=https://napavalleyregister.com/entertainment/arts-and-theatre/evy-warshawski-the-arts-landscape-a-retired-judge-polly-webber/article_11ecd2c1-5be4-51aa-b295-955f910edc45.html|work=[[Napa Valley Register]]|title=Evy Warshawski, The Arts Landscape: A retired judge Polly Webber creates a refugee narrative|author=Evy Warshawski|date=April 3, 2019|access-date=September 10, 2019}}</ref>

Make-up artists for ''[[RuPaul's Drag Race]]'' designed a wig called "Covfefe" for the show in 2019.<ref>{{cite news|url=https://ew.com/emmys/rupauls-drag-race-season-11-emmys-fyc/|title=Emmys FYC: 5 moments that made RuPaul's Drag Race the best competition on TV|work=[[Entertainment Weekly]]|date=August 15, 2019|access-date=September 10, 2019}}</ref>

A project of ''[[The Daily Show]]'', the Donald J. Trump Presidential Twitter Library features a piece dedicated to covfefe.<ref>{{cite news|url=https://www.washingtonian.com/2019/06/14/6-exhibits-you-shouldnt-miss-at-the-donald-j-trump-presidential-twitter-library/|work=[[Washingtonian (magazine)|Washingtonian]]|title=6 Exhibits You Shouldn't Miss at the Donald J. Trump Presidential Twitter Library|author=Andrew Beaujon|date=June 14, 2019|access-date=September 10, 2019}}</ref>

Ed Martin released an adult coloring book ''Covfefe Christmas Coloring Book Comic with Song'' in December 2018.<ref>{{cite web|url=https://virtual-strategy.com/2018/12/06/covfefe-christmas-featuring-president-trump-tweets-by-new-york-times/|title=COVFEFE CHRISTMAS Featuring President Trump Tweets by New York Times…|work=Virtual Strategy Magazine|date=December 6, 2018|access-date=September 9, 2019|archive-url=https://web.archive.org/web/20181206114903/http://virtual-strategy.com/2018/12/06/covfefe-christmas-featuring-president-trump-tweets-by-new-york-times/|archive-date=December 6, 2018|url-status=dead}}</ref><ref>{{cite web|url=https://www.broadwayworld.com/bwwbooks/article/COVFEFE-CHRISTMAS-Featuring-President-Trump-Tweets-by-New-York-Times-20181206|title=COVFEFE CHRISTMAS Featuring President Trump Tweets by New York Times...|work=[[Broadway World]]|date=December 6, 2018|access-date=September 10, 2019}}</ref>

Numerous "Covfefe Song" videos appear on [[YouTube]].<ref>{{cite news|work=[[Triad City Beat]]|url=https://triad-city-beat.com/trumps-america-covfefe-act/|title=Trump's America: The COVFEFE Act|author=Brian Clarey|date=June 14, 2017|access-date=September 10, 2019}}</ref>

[[Alec Baldwin]] portrayed Trump on ''[[Saturday Night Live]]'''s [[Saturday Night Live at Home|"At Home" edition]] on April 11, 2020, to discuss the ongoing [[COVID-19 pandemic]], referring to it as "Covfefe-19"<ref>{{Cite web|last=Ivie|first=Devon|date=April 12, 2020|title=SNL's Donald Trump Is Thrilled at America's Global Covfefe-19 Domination|url=https://www.vulture.com/2020/04/snl-alec-baldwin-as-donald-trump-and-coronavirus-watch.html|access-date=June 21, 2020|website=Vulture|language=en-us}}</ref><ref>{{Cite web|title='SNL': Alec Baldwin's Donald Trump Calls Into Remote Edition of "Weekend Update"|url=https://www.hollywoodreporter.com/live-feed/snl-alec-baldwins-donald-trump-calls-remote-edition-weekend-update-1289925|access-date=June 21, 2020|website=The Hollywood Reporter|language=en}}</ref><ref>{{Cite web|title=SNL's Donald Trump Is Thrilled at America's Global Covfefe-19 Domination|url=https://www.newsbreak.com/news/0OjQ7Mcq/snls-donald-trump-is-thrilled-at-americas-global-covfefe-19-domination|access-date=June 21, 2020|website=News Break|language=en}}</ref> while drinking [[Clorox bleach|Clorox]] bleach that he called "COVID juice".<ref>{{Cite web|date=May 10, 2020|title='SNL': Baldwin's Trump Delivers Commencement Speech to 'Class of COVID-19' (Video)|url=https://www.thewrap.com/snl-alec-baldwins-trump-delivers-commencement-speech-to-class-of-covid-19-video/|access-date=July 19, 2020|website=TheWrap|language=en-US}}</ref>

==In scholarly research==

A number of scholarly papers related the covfefe tweet to [[Donald Trump on social media|President Trump's use of social media]] and the corresponding effects on language and culture.<ref>{{cite journal|journal=Journal of Law|year=2018|author=Bryan A. Graner|title=The Year 2017 in Grammar, Language, and Writing|url=https://heinonline.org/HOL/LandingPage?handle=hein.journals/joolaw8&div=14&id=&page=|volume=89|issue=8}}</ref><ref>{{cite book |author=Stephen R. Barnard |title=Citizens at the Gates:Twitter, Networked Publics, and the Transformation of American Journalism|chapter-url=https://books.google.com/books?id=j4VfDwAAQBAJ&pg=PA147 |publisher=Springer |date=2018 |pages=147–175 |chapter=The Spectacle of #TrumpsAmerica: Political Journalism, Networked Publics, and the Battle for Symbolic Power |isbn=978-3-319-90445-0|doi=10.1007/978-3-319-90446-7_8}}</ref><ref>{{cite journal|author1=Andrew S. Ross|author2=Aditi Bhatia|title=#secondcivilwarletters from the front: Discursive illusions in a trending Twitter hashtag|journal=New Media & Society|volume=21|issue=10|year=2019|doi=10.1177/1461444819843311|pages=2222–2241|s2cid=150900096}}</ref>

==See also==
{{Portal|United States|Internet}}
* [[Hurricane Dorian–Alabama controversy]]
* [[Donald Trump on social media]]
* [[List of Internet phenomena]]
* [[Use of Twitter by public figures]]

==References==
{{Reflist}}

==External links==
{{Commons category}}
* {{Twitter | POTUS | President Trump (official)}}
* {{Twitter | realDonaldTrump | Donald Trump (personal)}}
* [http://www.trumptwitterarchive.com Trump Twitter archive] Searchable database
* [https://web.archive.org/web/20170531060732/https://twitter.com/realDonaldTrump/status/869766994899468288 Wayback Machine] Latest Wayback Machine Link In English
{{Donald Trump}}

[[Category:2010s in Internet culture]]
[[Category:Donald Trump in popular culture]]
[[Category:Donald Trump and social media]]
[[Category:Internet memes introduced in 2017]]
[[Category:Mass media-related controversies in the United States]]
[[Category:Political Internet memes]]
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[[Category:2010s neologisms]]
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I Vitelloni

2021-02-09T16:37:14Z

Invulgo: /* Plot */ I removed the description of Alberto as 'effeminate' - did the original contributor add this because Albert dresses up in drag for the carnival? I see no particular evidence to substantiate this adjective. If this was a possible hint that Alberto may be gay, this is never evidenced in the film - for example in the cafe when Leopoldo is reading his play, Albert along with three more of the vitelloni tries unsucessfully to pick up women. Instead I mentioned he was close to his mother.

{{short description|1953 Italian comedy-drama film directed by Federico Fellini}}
{{Infobox film
| name = I vitelloni
| image = Vitelloni psoter.jpg
| caption = Italian theatrical release poster
| director = [[Federico Fellini]]
| producer = Lorenzo Pegoraro Mario De Vecchi Jacques Bar
| screenplay = Federico Fellini [[Ennio Flaiano]] [[Tullio Pinelli]]
| story = Federico Fellini [[Tullio Pinelli]]
| starring = [[Alberto Sordi]] [[Franco Fabrizi]] [[Franco Interlenghi]] [[Leopoldo Trieste]]
| music = [[Nino Rota]]
| cinematography = Carlo Carlini [[Otello Martelli]] Luciano Trasatti
| editing = [[Rolando Benedetti]]
| distributor = [[Janus Films]]
| released = 26 August 1953 ([[14th Venice International Film Festival|Venice]])
| runtime = 103 minutes
| country = Italy
| language = Italian
}}
'''''I vitelloni''''' ({{IPA-it|i vitelˈloːni}}; lit. "The Bullocks/The layabouts") is a 1953 [[Italy|Italian]] [[comedy-drama]] directed by [[Federico Fellini]] from a [[screenplay]] by Fellini, [[Ennio Flaiano]] and [[Tullio Pinelli]]. The film launched the career of [[Alberto Sordi]], one of [[post-war]] Italy's most significant and popular [[comedian]]s, who stars with [[Franco Fabrizi]] and [[Franco Interlenghi]] in a story of five young Italian men at crucial turning points in their small town lives.<ref name="IMDb">{{cite web|title=I Vitelloni |website=Internet Movie Database |url=https://www.imdb.com/title/tt0046521/ |access-date=30 April 2012}}</ref> Recognized as a pivotal work in the director's artistic [[evolution]], the film has distinct autobiographical elements that mirror important societal changes in 1950s Italy.<ref name="Kezich, 130">Kezich, 130</ref> Recipient of both the [[Venice Film Festival]] Silver Lion in 1953, and an [[Academy Awards|Academy Award]] nomination for [[Academy Award for Best Original Screenplay|Best Writing]] in 1958,<ref name="imdbawards">{{cite web|title=Awards for I Vitelloni |website=Internet Movie Database |url=https://www.imdb.com/title/tt0046521/awards |access-date=30 April 2012}}</ref> the film's success restored Fellini's reputation after the commercial failure of ''[[The White Sheik]]'' (1952).

==Plot==
As summer draws to a close, a violent downpour interrupts a beach-side beauty pageant in a provincial town on the [[Adriatic coast]]. Sandra Rubini ([[Leonora Ruffo]]), elected "Miss Siren of 1953", suddenly grows upset and faints: rumours fly that she's expecting a baby by inveterate skirt chaser Fausto Moretti ([[Franco Fabrizi]]). Under pressure from Francesco ([[Jean Brochard]]), his respectable father, Fausto agrees to a shotgun wedding. After the sparsely attended middle-class ceremony, the newlyweds leave town on their honeymoon.

Unemployed and living off their parents, Fausto's twenty-something<ref>"The five youthful characters range in age between nineteen and the early twenties." Alpert, 81–82</ref> friends kill time shuffling from empty cafés to seedy pool halls to aimless walks across desolate windswept beaches. During the interim, they perform childish pranks. Taunting honest road workers from the safety of a luxury car they never earned, they're given a sound thrashing when it breaks down.

Moraldo Rubini ([[Franco Interlenghi]]), Sandra's brother and the youngest of the five ''vitelloni'', uncomfortably observes Fausto's womanizing as he ponders his own existence, dreaming of ways to escape to the big city. Riccardo (Riccardo Fellini), the baritone, nourishes unrealistic ambitions to sing and act. Alberto ([[Alberto Sordi]]), the daydreamer, is supported by his mother and self-reliant sister, Olga (Claude Farell). Vulnerable and close to his mother, he's unhappy that Olga is secretly dating a married man. Leopoldo ([[Leopoldo Trieste]]), the aspiring dramatist, writes a play that he discusses with Sergio Natali ([[Achille Majeroni]]), an eccentric stage actor he hopes will perform in it.

Back from his honeymoon and settled in with Sandra, Fausto is forced to accept a job as a stockroom assistant in a religious-articles shop owned by Michele Curti ([[Carlo Romano]]), a friend of his father-in-law's. Incorrigible, Fausto pursues other women even in his wife's presence.

At the annual masquerade ball, Fausto is bedazzled by the mature beauty of Giulia Curti ([[Lída Baarová]]), his employer's wife. Alberto, in drag and half-drunk, executes a surrealistic dance across the ballroom floor with a goofy carnival head made of papier-mâché. Returning home at dawn, Alberto is devastated to find his sister running off for good with her married lover. Fausto's naive attempt to seduce Giulia results in his being humiliated and then fired by her husband. In revenge, he steals the statue of an angel in gold paint from his former employer, enlisting the loyal Moraldo to help him sell it to a [[monk]]. Suspicious, the monk turns down the offer. Fausto ends up leaving the statue with a simple-minded peasant ([[Silvio Bagolini]]) who sets the angel on a mound outside his hovel, caressing it.

One evening after a variety show, Leopoldo agrees to accompany old Sergio for a walk along the seashore to discuss the merits of his play but when the actor propositions him, he takes to his heels in horror. Learning of Fausto's one-night stand with a variety performer, Sandra runs away from home, taking the baby with her. Riccardo, Alberto, Leopoldo, and Moraldo all join in Fausto's desperate search to trace his wife and child. When they find her at the home of Fausto's father, Francesco pulls off his belt in a rage and finally whips his son. Later, and reconciled for the present, Fausto and Sandra walk home happily and with optimism about their life together. Resolved to abandon the provincial monotony of his dead-end town, Moraldo boards the train for anyplace else (Rome), imagining his ''vitelloni'' friends sleeping their lives away.

==Cast==
* [[Franco Interlenghi]] as Moraldo Rubini
* [[Alberto Sordi]] as Alberto
* [[Franco Fabrizi]] as Fausto Moretti
* [[Leopoldo Trieste]] as Leopoldo Vannucci
* [[Riccardo Fellini]] as Riccardo
* [[Leonora Ruffo]] as Sandra Rubini, Moraldo's sister
* [[Jean Brochard]] as Francesco Moretti, Fausto's father
* [[Claude Farell]] as Olga, Alberto's sister
* [[Carlo Romano]] as Signore Michele Curti
* [[Lída Baarová]] as Signora Giulia Curti
* [[Enrico Viarisio]] as Signore Rubini, Moraldo's father
* [[Paola Borboni]] as Signora Rubini, Moraldo's mother
* Arlette Sauvage as mysterious woman at the cinema
* [[Silvio Bagolini]] as simple-minded peasant
* [[Vira Silenti]] as Gisella
* [[Achille Majeroni]] as Sergio Natali
* Maja Nipora as Caterina, the [[soubrette]]<ref name="imdbcast">{{cite web|title=Full cast and crew for I Vitelloni |website=Internet Movie Database |url=https://www.imdb.com/title/tt0046521/fullcredits |access-date=30 April 2012}}</ref>

==Production==

===Writing===
Having completed an early version of ''[[La strada|La Strada]]'' with co-screenwriter [[Tullio Pinelli]] in 1952, Fellini offered their "modern fairy tale"<ref name="Kezich, 130"/> to producer [[Luigi Rovere]] with whom he was still under contract. Rovere had solid reasons for turning it down: apart from the script of ''La Strada'' being an unrecognizable genre, Fellini's last film, ''[[The White Sheik]]'', had been a critical and commercial flop. In a show of solidarity, Rovere loaned the script to a Venetian professor of [[calligraphy]] turned film producer, Lorenzo Pegoraro, who had admired ''The White Sheik''.<ref name="Kezich, 130"/> Convinced that ''La Strada'' would never attract an audience, Pegoraro requested that Fellini develop a comedy instead. Biographers differ as to who conceived ''I Vitelloni''. For [[Tullio Kezich]], it was Fellini who hit on the idea "after an afternoon-long consultation" with [[Ennio Flaiano]].<ref>Kezich, 131</ref> For [[Hollis Alpert]], it was Pinelli brain-storming with Fellini and Flaiano who came up "with a notion the other two liked: the pleasures and frustrations of growing up in a provincial town".<ref name="Alpert, 81">Alpert, 81</ref> Under Fellini's supervision, all three together rapidly wrote the script, pooling their adolescent memories while inventing new ones.

===Title===
Distributors interested in the script demanded a title change: incomprehensible to a general audience, ''I vitelloni'' was a liability to an already risky venture. Fellini adamantly refused to change it, having chosen the film's title after "being called a ''vitellone'' by an elderly woman expressing disapproval of one of his pranks".<ref name="Alpert, 81"/> For him, ''vitelloni'' were "the unemployed of the middle class, mother's pets. They shine during the holiday season, and waiting for it takes up the rest of the year".<ref name="Alpert, 81"/> According to biographer Alpert, the term was [[Romagnol language|Romagnol]] for "[[veal]], or [[calf]]... used to refer to callow youths". Today, the term is widely translated as "big calves".

The actual origin of the term has been defined as a cross between the Italian words for [[veal]] (''vitello'') and [[beef]] (''bovino'') implying "an immature, lazy person without a clear identity or any notion of what to do with his life".<ref>Bondanella, 90</ref> In a 1971 letter, co-screenwriter Ennio Flaiano offered a fuller meaning of the word: "The term ''vitellone'' was used in my day to define a young man from a modest family, perhaps a student – but one who had either already gone beyond the programmed schedule for his coursework, or one who did nothing all the time... I believe the term is a corruption of the word ''vudellone'', the large intestine, or a person who eats a lot. It was a way of describing the family son who only ate but never 'produced' – like an intestine, waiting to be filled."<ref>Kezich, 132. This explanation also was proposed by [[Tullio Pinelli]] in a 2001 research interview for the documentary, ''[[Fellini: I'm a Born Liar]]'' (2002). ''CinéLibre'' (Paris), Issue July 2003.</ref>

===Casting===
Despite his reputation as box office poison, and against Pegoraro's express wishes, Fellini once again cast [[Alberto Sordi]] in a major role. Intent on playing the lead, however, Sordi didn't accept Fellini's offer until later in production.<ref name="Kezich, 134">Kezich, 134</ref> Pegoraro's skeptical distributors, far from closing the deal, demanded a clause in the contract banning Sordi's name from theatrical posters.<ref name="Kezich, 133">Kezich, 133</ref> To make matters worse, Fellini also cast [[Leopoldo Trieste]] (the lead in ''[[The White Sheik]]'' fiasco) as the budding dramatist, and his brother Riccardo, a total unknown, to interpret his own role. Further unknowns included [[Franco Interlenghi]] and Leonora Ruffo who had just wrapped on ''The Queen of Sheba''. Although Czech actress [[Lída Baarová]] had a cult following, she was more famous for her love affair with [[Nazi]] [[Joseph Goebbels]] than for any of her film roles.<ref name="Kezich, 134"/> Fellini topped things off by casting [[Franco Fabrizi]] as Fausto, an actor who had begun his film career in 1950 with [[Michelangelo Antonioni]]'s ''[[Chronicle of a Love]]'' but had recently bombed in ''Christ Passed by the Barn''.<ref name="Kezich, 134"/> Pressured by his financial backers – a Florentine business group and the [[Paris]]-based Cité Film,<ref name="Kezich, 134"/> Pegoraro finally balked at the lack of a star. "Sordi makes people run away," he complained to Fellini. "Leopoldo Trieste is a nobody. Meet me half way – bring in a name."<ref>Alpert, 82</ref>

To placate him, Fellini contacted [[Vittorio De Sica]], hoping to convince him to play the part of Sergio Natali, the aging ham actor. When Fellini outlined the homosexual overtones of the role, De Sica accepted provided it were written with "a great deal of humanity".<ref name="Alpert, 83">Alpert, 83</ref> In the end, he rejected the offer, "concerned about being marked as actually gay".<ref name="Kezich, 135">Kezich, 135</ref> Fellini then decided that De Sica would have been "too nice, too fascinating, too distracting"<ref name="Alpert, 83"/> and cast [[Achille Majeroni]], a respected stage actor, in the part.

===Filming and editing===
Described as an "itinerant production",<ref name="Kezich, 135"/> shooting was tailored to accommodate Sordi's variety show schedule, requiring Fellini and his troupe to follow him from town to town across Italy. On tour in the ''Big Ruckus'', Sordi rehearsed his role and was ready for filming during his hours off. Accordingly, when the actor toured [[Florence]], shooting began as an all-night party at the city's Teatro Goldoni in early December 1952.<ref>Alpert, 84</ref> Supervised by production manager Luigi Giacosi whom Fellini had first met while on location in [[Tripoli]] during the war, and photographed by veteran [[cinematographer]] [[Otello Martelli]], the rushes served as the basis of the masquerade ball, a major sequence. With a break in production for Christmas, shooting resumed on January 15, 1953.<ref name="Kezich, 135"/> Constrained by the shoestring budget, many scenes were shot in a natural decor. In [[Ostia (quarter of Rome)|Ostia]], a quay provided the winter setting for Fausto and his gang to wander around listlessly staring at the sea. In [[Fiumicino]], the terrace of the Kursaal Hotel was the backdrop for the beauty pageant that opens the film. Accustomed to movies produced on promises, Giacosi maintained morale by ensuring that cast and crew dined in the best restaurants in the towns they visited.<ref name="Kezich, 133"/>

Working with several cinematographers over a six-month period, Fellini developed a predominant camera style based on slow tracking shots that "match the listless, purposeless lives" of his characters.<ref name="Bondanella, 96">Bondanella, 96</ref> Zooms underscored dramatic events, most notably when Sandra falls ill at the beauty pageant, after the birth of her child, and when Francesco beats his wayward son.

With editor Rolando Benedetti, Fellini established a rhythm in which short sequences were separated by abrupt cuts while longer sequences used dissolves. The numerous brief and disparate episodes "governed by their own internal logic" were thus held together by a particular editing pattern.<ref name="Bondanella, 96"/> A freeze-frame was used to immobilize the young Guido, Moraldo's friend, at the end of the film when he balances himself on a railtrack.

==Critical response==
'''Italy and France'''

Screened in competition at the [[14th Venice International Film Festival]] on 26 August 1953, the film was awarded the Silver Lion by Italian poet [[Eugenio Montale]] who headed the jury,<ref name="Kezich, 135"/> along with a public ovation and acclaim from the majority of critics.<ref name="Alpert, 85">Alpert, 85</ref> "Belying all doubts about its appeal",<ref name="Alpert, 85"/> the film opened on September 17, 1953 to both commercial and critical success.

Reviewing for ''[[La Stampa]]'', Mario Gromo argued that it was a "film of a certain importance because of its many intelligent moments, its sound portrayal of provincial life, and because it is the second film of a young director who evidently has considerable talent... The Italian film industry now has a new director and one who puts his own personal ideas before any of the customary traditions of the trade. Fellini's is a fresh approach".<ref>First published 9 October 1953 in ''La Stampa'' (Turin). Fava and Vigano, 73</ref> "It is the atmosphere that counts most in this unusual film," wrote Francesco Càallari of the ''Gazzetta del Lunedi'', "an intensely human and poetical atmosphere altogether estranged from the provincialism of the setting... Fellini has something to say and he says it with an acute sense of observation... Here is someone apart from the other young directors of post-war Italian cinema. Fellini has a magical touch." First published 31 August 1953 in the ''Gazzeta del Lunedi'' (Genoa). After praising Fellini's Venice triumph, Ermanno Contini of ''Il Secolo XIX'' outlined the film's weaknesses: "''I Vitelloni'' does not have a particularly solid structure, the story is discontinuous, seeking unity through the complex symbiosis of episodes and details... The narrative, built up around strong emotions and powerful situations, lacks solid organic unity, and at times this undermines the story's creative force, resulting in an imbalance of tone and pace and a certain sense of tedium. But such shortcomings are amply atoned for by the film's sincerity and authenticity."<ref>First published 28 August 1953 in ''Il Secolo XIX'' (Genoa). Fava and Vigano, 75</ref> Arturo Lanocita of ''[[Corriere della Sera]]'' wrote: "''I Vitelloni'' gives a graphic and authentic picture of certain aimless evenings, the streets populated by groups of idle youths... The film is a series of annotations, hints, and allusions without unity... With a touch of irony, Fellini tries to show the contrast between the way his characters see themselves and the way they really are. Despite its weaknesses, the film is one of the best in recent years."<ref>First published 28 August 1953 in ''Corriere della Sera'' (Milan). Fava and Vigano, 75</ref> For Giulio Cesare Castello of ''Cinema VI'', the film proved "that Fellini is the Italian film industry's most talented satirist, and an acute observer and psychologist of human behaviour. Like any good moralist, he knows how to give his story a meaning, to provide more than just simple entertainment".<ref>First published 31 August 1953 in ''Cinema VI'' (Milan). Fava and Vigano, 75</ref>

Fellini's first film with international distribution,<ref name="Kezich, 137">Kezich, 137</ref> ''I Vitelloni'' did reasonable box office in England and North America while performing "huge in Argentina".<ref name="Kezich, 137"/> Opening in France on 23 April 1954, it was especially well received. André Martin of ''[[Les Cahiers du Cinéma]]'' insisted that by "virtue of the quality of the narrative, and the balance and control of the film as a whole, ''I Vitelloni'' is neither commercial nor does it possess those traits that usually permit a work of art to be consecrated and defined. With a surprising and effective sense of cinema, Fellini endows his characters with a life both simple and real".<ref>First published May 1954 in ''Les Cahiers du Cinéma''. Fava and Vigano, 76</ref> Film critic Geneviève Agel appreciated the maestro's symbolism: "Fellini films a deserted piazza at nighttime. It symbolizes solitude, the emptiness that follows communal joy, the bleak torpor that succeeds the swarming crowd; there are always papers lying around like so many reminders of what the day and life have left behind."<ref>Alpert, 86</ref>

'''United States'''

''I Vitelloni'' opened in the United States on 7 November 1956 to generally positive reviews. In his ''[[New York Times]]'' review, [[Bosley Crowther]] reported that Fellini, with "his volatile disposition and a desire to make a stinging film... does certainly take a vigorous whiplash to the breed of over-grown and over-sexed young men who hang around their local poolrooms and shun work as though it were a foul disease. He ridicules them with all the candor of his sharp neo-realist style, revealing their self-admiration to be sadly immature and absurd. And without going into reasons for the slack state of these young men, he indicates that they are piteous and merit some sympathy too".<ref>First published 24 October 1956 in ''The New York Times''. Fava and Vigano, 76</ref> For [[John Simon (critic)|John Simon]], Nino Rota's music was one "of the most brilliant features of the film... The first [of its two main themes] is a soaring, romantic melody that can be made to express nostalgia, love, and the pathos of existence... Slowed down, [the second main theme] becomes lugubrious; with eerie figurations in the woodwinds it turns sinister. The quicksilver changes in the music support the changing moods of the story".<ref>Alpert, 87</ref>

The film was re-released internationally on the tenth anniversary of Fellini's death in 2003. For the ''[[San Francisco Chronicle]]'', Mick LaSalle noted that ''I Vitelloni'' was "a film of sensitivity, observation and humor – a must-see for Fellini enthusiasts and a worthwhile investment for everyone else. Those less taken by the maestro may find ''I Vitelloni'' to be a favorite among his works".<ref>[http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2003/12/12/DDGQ63KS1U1.DTL LaSalle, Mick.] ''San Francisco Chronicle'', film review, 2003.</ref> Michael Wilmington of the ''[[Chicago Tribune]]'' wrote: "In Italy, it remains one of Fellini's most consistently loved movies. It should be in America as well... If you still remember that terrific drunk scene, Alberto Sordi's pre-''[[Some Like It Hot]]'' drag tango or the way the little boy balances on the train track at the end, you should know that this picture plays as strongly now as it did in 1956 or whenever you first saw it. I know I had a ball watching ''I Vitelloni'' again. It reminded me of the old gang."<ref>[http://metromix.chicagotribune.com/movies/mmx-040219-movies-review-mw-ivitelloni,0,5251383.story Wilmington, Michael.]{{Dead link|date=October 2018 |bot=InternetArchiveBot |fix-attempted=yes }} ''The Chicago Tribune,'' film review, 2003.</ref>

===Influence===
One of Fellini's most imitated films,<ref>"There are so many imitators," wrote Kezich, "it's impossible to list them all." Kezich, 137</ref> ''I Vitelloni'' inspired European directors [[Juan Antonio Bardem]], [[Marco Ferreri]], and [[Lina Wertmüller]], and influenced [[Martin Scorsese]]'s ''[[Mean Streets]]'' (1973), [[George Lucas]]'s ''[[American Graffiti]]'' (1973), and [[Joel Schumacher]]'s ''[[St. Elmo's Fire (film)|St. Elmo's Fire]]'' (1985), among many others according to Kezich.<ref name="Kezich, 137"/> These include [[Philip Kaufman]]'s ''[[The Wanderers (1979 film)|The Wanderers]]'' (1979). {{Citation needed|date= April 2013}} While [[Barry Levinson]]'s ''[[Diner (1982 film)|Diner]]'' (1982) features a similar group of young men, Levinson has said he never saw ''I Vitelloni'' before making his own film.<ref>[https://www.nytimes.com/1982/04/18/movies/he-drew-from-his-boyhood-to-make-diner.html Farber, Stephen] ''New York Times'', 1982</ref>

In a 1963 edition of ''Cinema'' magazine, acclaimed director [[Stanley Kubrick]] cited the film as one of his top 10 favourite films.{{sfn|Baxter|1997|p=12}}

==Awards==
'''Wins'''
* [[Venice Film Festival]]: Silver Lion; Federico Fellini; 1953.
* Italian National Syndicate of Film Journalists: Silver Ribbon; Best Director, Federico Fellini; Best Producer; Best Supporting Actor, Alberto Sordi; 1954.

'''Nominations'''
* Venice Film Festival: Golden Lion; Federico Fellini; 1953.
* [[Academy Award for Best Foreign Language Film|Academy Awards]]: Oscar; Best Writing, Story and Screenplay – Written Directly for the Screen, Federico Fellini (screenplay/story), Ennio Flaiano (screenplay/story) and Tullio Pinelli (story); 1958.

==References==
{{reflist}}

===Bibliography===
{{refbegin}}
* {{cite book|last=Baxter|first=John|title=Stanley Kubrick: A Biography|year=1997|publisher=HarperCollins|isbn=978-0-00-638445-8}}
* [[Hollis Alpert|Alpert, Hollis]] (1988). ''Fellini: A Life''. New York: Paragon House. {{ISBN|1-55778-000-5}}
* Bondanella, Peter (1992). ''The Cinema of Federico Fellini''. Princeton University Press. {{ISBN|0-691-00875-2}}
* Fava, Claudio and Aldo Vigano (1990). ''The Films of Federico Fellini''. New York: Citadel. {{ISBN|0-8065-0928-7}}
* [[Tullio Kezich|Kezich, Tullio]] (2006). ''Fellini: His Life and Work''. New York: Faber and Faber. {{ISBN|978-0-571-21168-5}}
{{refend}}

==External links==
* {{IMDb title|0046521}}
* {{tcmdb title|94882}}
* {{YouTube|OZbeIaQK7Hw|''I Vitelloni'' selected scene}}
* {{YouTube|Q-rp_gadBBE|''I Vitelloni'' carnival scene}}
*[https://www.criterion.com/current/posts/336-i-vitelloni-a-trip-to-the-station ''I Vitelloni: A Trip to the Station''] an essay by Tom Piazza at the [[Criterion Collection]]

{{Federico Fellini}}
{{The Silver Lion}}
{{Authority control}}

{{DEFAULTSORT:Vitelloni, I}}
[[Category:1953 films]]
[[Category:French black-and-white films]]
[[Category:1950s comedy-drama films]]
[[Category:Films directed by Federico Fellini]]
[[Category:French films]]
[[Category:Italian independent films]]
[[Category:Italian films]]
[[Category:Italian coming-of-age comedy-drama films]]
[[Category:Films scored by Nino Rota]]
[[Category:Italian-language films]]
[[Category:Films set in Italy]]
[[Category:Films set in Emilia-Romagna]]
[[Category:1950s independent films]]
[[Category:Films with screenplays by Federico Fellini]]
[[Category:1953 comedy films]]
[[Category:1953 drama films]]

Bo Widerberg

2021-02-09T13:38:12Z

Invulgo: /* Selected filmography */

{{Expand Swedish|Bo Widerberg|date=July 2016}}
{{Infobox person
| name = Bo Widerberg
| image = Bo Widerberg - 1990.jpg
| alt = 
| caption = Bo Widerberg in 1990.
| birth_name = Bo Gunnar Widerberg
| birth_date = {{birth date|1930|6|8|df=yes}}
| birth_place = [[Malmö]], [[Sweden]]
| death_date = {{death date and age|1997|5|1|1930|6|8|df=yes}}
| death_place = [[Båstad]], [[Sweden]]
| nationality = Swedish
| other_names =
| occupation = Film director, screenwriter, editor, actor
| years_active = 1962–1995
| known_for =
| notable_works =
| spouse = Ann-Mari Björklund {{marriage||1953|1954}} Vanja Nettelbladt {{marriage||1954|1973}}
| children = Nina, Martin, [[Johan Widerberg|Johan]], Matilda
}}
'''Bo Gunnar Widerberg''' (8 June 1930 – 1 May 1997) was a [[Sweden|Swedish]] [[film director]], [[screenwriter|writer]], [[film editing|editor]] and [[actor]].

==Biography==
===Early life===
Widerberg was born in [[Malmö]], [[Malmöhus County]], [[Sweden]].

===Career===
Widerberg was the director of films such as ''[[Raven's End]]'' (1963), ''[[Elvira Madigan (1967 film)|Elvira Madigan]]'' (1967), ''[[Ådalen 31]]'' (1969), ''[[Joe Hill (film)|Joe Hill]]'' (1971), ''[[Fimpen]]'' (1974), ''[[The Man on the Roof]]'' (1976), ''[[Victoria (1979 film)|Victoria]]'' (1979), ''[[The Man from Majorca]]'' (1984), ''[[The Serpent's Way]]'' (1986) and ''[[All Things Fair]]'' (1995). ''The Serpent's Way'' was screened in the [[Un Certain Regard]] section at the [[1987 Cannes Film Festival]]<ref name="Cannes1987">{{cite web |url=http://www.festival-cannes.com/en/archives/ficheFilm/id/470/year/1987.html |title=Festival de Cannes: The Serpent's Way |access-date=2009-07-22|work=festival-cannes.com}}</ref> and in competition at the [[15th Moscow International Film Festival]].<ref name="Moscow1987">{{cite web|url=http://www.moscowfilmfestival.ru/miff34/eng/archives/?year=1987 |title=15th Moscow International Film Festival (1987) |access-date=2013-02-20 |work=MIFF |url-status=dead |archive-url=https://web.archive.org/web/20130116194338/http://www.moscowfilmfestival.ru/miff34/eng/archives/?year=1987 |archive-date=2013-01-16 }}</ref> In 1966 at the [[3rd Guldbagge Awards]] his film ''[[Heja Roland!]]'' won the award for [[Guldbagge Award for Best Film|Best Film]].<ref>{{cite web |url=http://www.sfi.se/en-GB/Swedish-film-database/Item/?type=MOVIE&itemid=4740&iv=Awards |title= Heja Roland! (1966) |publisher=Swedish Film Institute |date=27 February 2014}}</ref>

===Death and legacy===
Widerberg died in [[Ängelholm]], Sweden on 1 May 1997 of stomach cancer and was buried in the New Cemetery in Båstad. He had four children: Nina, Martin, Johan, and Matilda. Johan has become an actor and his son Martin became a director. As a child, Nina Widerberg acted in five of her father's films, including ''[[Barnvagnen]]'' and ''[[The Man on the Roof]]''. Johan played Kollberg's son in ''The Man on the Roof''.

In conjunction with the [[City Tunnel (Malmö)|City Tunnel]] in [[Malmö]], a small plaza around the southern entrance to the train, named Bo Widerberg place, was inaugurated in 2010. The site is located near Widerberg's former residence in the city.<ref>[http://www.svt.se/kultur/bo-widerberg-hyllas-i-malmo]</ref>

==Awards==
He won a Silver Bear prize at the [[46th Berlin International Film Festival]] for ''All Things Fair'' and a [[Grand Prix (Cannes Film Festival)|Special Grand Jury Prize]] at the [[1969 Cannes Film Festival|Cannes Festival]] for ''Ådalen 31''.<ref name="Cannes1969">{{cite web |url=http://www.festival-cannes.com/en/archives/ficheFilm/id/2544/year/1969.html |title=Festival de Cannes: Ådalen 31 |access-date=2009-04-05|work=festival-cannes.com}}</ref> ''Raven's End'',<ref name="Oscars1965">{{Cite web|url=http://www.oscars.org/oscars/ceremonies/1965 |title=The 37th Academy Awards (1965) Nominees and Winners |access-date=2011-11-05|work=oscars.org}}</ref> ''Ådalen 31''<ref name="Oscars1970">{{Cite web|url=http://www.oscars.org/oscars/ceremonies/1970 |title=The 42nd Academy Awards (1970) Nominees and Winners |access-date=2011-11-16 |work=oscars.org}}</ref> and ''All Things Fair'' all received a nominations for the [[Academy Award for Best Foreign Language Film]]. For ''Ådalen 31'' Widerberg won the [[Guldbagge Award for Best Director]] at the [[6th Guldbagge Awards]].<ref name="6thGuldbagge">{{cite web |url=http://www.sfi.se/en-GB/Swedish-film-database/Item/?type=MOVIE&itemid=4822&iv=Awards |title= Ådalen 31 (1969) |publisher=Swedish Film Institute |date=2 March 2014}}</ref> For ''The Man on the Roof'' he won the award for [[Guldbagge Award for Best Film|Best Film]] at the [[13th Guldbagge Awards]].<ref name="13thGuldbagge">{{cite web |url=http://www.sfi.se/en-GB/Swedish-film-database/Item/?type=MOVIE&itemid=4982&iv=Awards |title=Mannen på taket (1976) |publisher=Swedish Film Institute |date=7 March 2014}}</ref>

[[File:Bo Widerberg.jpg|thumb|Bo Widerberg c. 1960]]

==Selected filmography==

===Director===
*''[[All Things Fair]]'' (1995)
*''Tagning Alla är äldre än jag ...'' (1994)
*''Efter föreställningen'' (1992)
*''Hebriana'' (1990)
*''The Wild Duck'' (1989)
*''En far'' (1988)
*''[[The Serpent's Way]]'' (1986)
*''[[The Man from Majorca]]'' (1984)
*''Tagning Rött och svart'' (1982)
*''Linje Lusta'' (1981)
*''Missförståndet'' (1981)
*''En handelsresandes död'' (1979)
*''Måsen'' (1979)
*''[[Victoria (1979 film)|Victoria]]'' (1979)
*''[[The Man on the Roof]]'' (1976)
*''[[Fimpen|Stubby]]'' (1974)
*''[[Joe Hill (film)|Joe Hill]]'' (1971)
*''A Mother with Two Children Expecting Her Third'' (1970)
*''[[Ådalen 31]]'' (1969)
*''[[The White Game]]'' (1968)
*''[[Elvira Madigan (1967 film)|Elvira Madigan]]'' (1967)
*''[[Heja Roland!]]'' (1966)
*''[[Love 65]]'' (1965)
*''Barnvagnen'' (English title 'Swedish Sin') (1963)
*''[[Raven's End]]'' (1963)
*''Pojken och draken'' (1962)

==References==
{{reflist}}

==External links==
{{Commons category-inline|Bo Widerberg}}
*{{IMDb name|927090}}
*{{Sfdb name}}
*{{cite web|url=http://geocities.com/worldcinema/directors/widerberg.htm |title=World Cinema Directors |access-date=2010-10-09 |url-status=bot: unknown |archive-url=https://web.archive.org/web/20091027100643/http://geocities.com/worldcinema/directors/widerberg.htm |archive-date=2009-10-27 }}

{{Bo Widerberg}}
{{GuldbaggeAwardBestDirector}}
{{Authority control}}

{{DEFAULTSORT:Widerberg, Bo}}
[[Category:1930 births]]
[[Category:1997 deaths]]
[[Category:People from Malmö]]
[[Category:Deaths from cancer in Sweden]]
[[Category:Deaths from stomach cancer]]
[[Category:Swedish film directors]]
[[Category:Swedish film editors]]
[[Category:Swedish screenwriters]]
[[Category:Male screenwriters]]
[[Category:Swedish male writers]]
[[Category:Litteris et Artibus recipients]]
[[Category:Best Director Guldbagge Award winners]]
[[Category:20th-century Swedish male actors]]
[[Category:20th-century screenwriters]]

Humanité

2021-02-07T14:13:15Z

Invulgo: /* Plot */ In the film, the mother of Pharaon de Winter is only mentiobed as being his partner or girlfriend, never wife.

{{For|the French newspaper|L'Humanité}}
{{More citations needed|date=June 2019}}
{{Infobox film
| name = L'humanité
| image = Humanite.jpg
| image_size =
| caption =
| director = [[Bruno Dumont]]
| producer = [[Rachid Bouchareb]] [[Jean Bréhat]]
| writer = Bruno Dumont
| starring =
| music =
| cinematography = [[Yves Cape]]
| editing = [[Guy Lecorne]]
| distributor =
| released = {{Film date|1999|05|17|df=y}}
| runtime = 148 minutes
| country = [[France]]
| language = [[French language|French]] [[English language|English]]
| budget =
}}
'''''Humanité''''' ({{lang-fr|'''L'humanité'''}}) is a 1999 film directed by [[Bruno Dumont]]. It tells the story of a widowed, unlikely policeman investigating a rape and murder of a schoolgirl in rural France. His slow investigation is interspersed with everyday scenes of his quiet life. The film is shot with little dialogue in a contemplative and symbolical style. The policeman is named after a famous French painter, [[Pharaon de Winter]], who was from the place the film is set.

==Plot==
In the far north of France, filmed in [[Bailleul, Nord|Bailleul]], a girl of 11 has been raped and murdered as she walked to her parents' remote farm from the school bus. Called onto the case, the [[Intellectual disability|mentally disabled]] Inspector Pharaon de Winter feels extreme revulsion. After having lost his girlfriend and child in an accident, he now lives quietly with his widowed mother.

At the weekend his neighbour Domino, who is sympathetic to his deeply affected state, asks him to join her and her lover Joseph, a bus driver. They go to the seaside and to a restaurant, but the reserved Pharaon finds Joseph ignorant and coarse.

The police investigation moves slowly, with Pharaon looking into possibilities such as whether the murderer was a bus driver or a psychiatric patient. Noting that the murder site could be seen from [[Eurostar]] trains, he goes to [[London]] to interview passengers. But with no firm lead, the case is taken over by the [[Lille]] police.

The factory where Domino works goes on strike and the police, led by Pharaon, have to quell a demonstration. Though outwardly angry, in fact Domino admires his quiet determination and offers herself to him. However, he rejects her advances, finding them too vulgar, and his mother warns her off.

Then the Lille police arrest Joseph. When Pharaon gets to the police station, he finds him beaten up and weeping. At first baffled, Pharaon is soon surprised to find Joseph confessing in tears. Being a man of deep feeling, Pharaon comforts him, caressing him with his nose and kissing him on the mouth. When he goes home, his mother is out and Domino is at the kitchen table weeping. He comforts her. The final shot shows Pharaon sitting in a chair in his office at the police station, staring out the window, with handcuffs visibly shackling his wrists.

==Cast==
* [[Emmanuel Schotté]] as Pharaon de Winter
* [[Séverine Caneele]] as Domino
* [[Philippe Tullier]] as Joseph
* [[Ghislain Ghesquère]] as Police Chief
* [[Ginette Allegre]] as Eliane de Winter
* [[Daniel Leroux]] as Nurse
* [[Arnaud Brejon de la Lavergnee]] as Museum Curator
* [[Daniel Petillon]] as Jean, the cop
* [[Robert Bunzi]] as English cop
* [[Dominique Pruvost]] as Angry worker
* [[Jean-Luc Dumont]] as Armed cop
* [[Diane Gray]] as British traveller
* [[Paul Gray (actor)|Paul Gray]] as British traveller
* [[Sophie Vercamer]] as Worker
* [[Murielle Houche]] as Worker

==Awards==
The film was entered into the [[1999 Cannes Film Festival]] where it won the following awards:<ref name="festival-cannes.com">{{cite web |url=http://www.festival-cannes.com/en/archives/ficheFilm/id/5322/year/1999.html |title=Festival de Cannes: Humanité |access-date=2009-10-06|work=festival-cannes.com}}</ref>
* [[Grand Prix (Cannes Film Festival)|Grand Prix]]
* [[Best Actor Award (Cannes Film Festival)|Best Actor]] ([[Emmanuel Schotte]])
* [[Best Actress Award (Cannes Film Festival)|Best Actress]] ([[Séverine Caneele]])

==References==
{{reflist}}

==External links==
* {{IMDb title|0197569}}
* {{Amg movie|179967}}
*[https://www.criterion.com/current/posts/6452-l-humanit-ordinary-human-behavior ''L’humanité: Ordinary Human Behavior''] an essay by Nicholas Elliott at the [[Criterion Collection]]

{{Bruno Dumont}}
{{Cannes Film Festival Grand Prix}}

{{DEFAULTSORT:Humanite}}
[[Category:1999 films]]
[[Category:1999 drama films]]
[[Category:French films]]
[[Category:French-language films]]
[[Category:Films directed by Bruno Dumont]]

Hors Satan

2021-02-06T19:23:16Z

Invulgo: /* Reception */ Fixed incorrectyperlink from L'Humanité film mention to film page instead of newspaper

{{short description|2011 film}}
{{Use dmy dates|date=September 2019}}
{{Infobox film
| name = Hors Satan
| image = Outside Satan.png
| caption = Film poster
| director = [[Bruno Dumont]]
| producer = Jean Brehat [[Rachid Bouchareb]] Muriel Merlin
| writer = Bruno Dumont
| starring = David Dewaele Alexandra Lematre
| music =
| cinematography = Yves Cape
| editing = Buno Dumont Basile Belkhiri
| studio = 3B Productions
| distributor = Pyramide Distribution
| released = {{Film date|df=y|2011|5|16|[[2011 Cannes Film Festival|Cannes]]|2011|10|19|France}}
| runtime = 110 minutes
| country = France
| language = French
| budget =
}}

'''''Hors Satan''''' (''Outside Satan'') is a 2011 French [[drama film]] written and directed by [[Bruno Dumont]].<ref>{{cite book |title=International Film Guide 2012 |first=Ian Hayden |last=Smith |year= 2012 |isbn= 978-1908215017 |page= 118}}</ref> It was filmed under the production title ''L'Empire'', which means "The Empire".<ref>{{cite web|date=6 May 2011 |url=http://www.screendaily.com/festivals/cannes/cannes-2011-film-profiles-competition-out-of-competition-and-un-certain-regard/5026879.article |title=Cannes 2011 film profiles: Competition, Out of Competition and Un Certain Regard |work=[[Screen International|Screen Daily]] |accessdate=16 May 2011}}</ref> It premiered in the [[Un Certain Regard]] section at the [[2011 Cannes Film Festival]].<ref>{{cite web|url=http://www.festival-cannes.com/en/article/58041.html |title=Festival de Cannes: Official Selection |accessdate=16 April 2011 |work=Cannes |url-status=dead |archiveurl=https://web.archive.org/web/20110515065818/http://www.festival-cannes.com/en/article/58041.html |archivedate=15 May 2011 }}</ref><ref>{{cite news|url=https://www.theguardian.com/film/2011/apr/14/cannes-film-festival-2011-full-lineup |title=Cannes film festival 2011: The full lineup |accessdate=16 April 2011 |work=guardian.co.uk |location=London |date=14 April 2011}}</ref>

==Cast==
* [[David Dewaele]] as le gars
* Alexandre Lematre as la fille
* Valerie Mestdagh as la mère
* Sonia Barthelemy as la mère de la gamine
* Juliette Bacquet as la gamine
* Christophe Bon as le garde
* Dominique Caffier as l'homme au chien
* Aurore Broutin as la routarde

==Reception==
Rob Nelson of ''[[Variety (magazine)|Variety]]'' called ''Hors Satan'' "Another 'WTF?' film from Gallic writer-director Bruno Dumont", and went on: "Like Dumont's ''[[Twentynine Palms (film)|Twentynine Palms]]'' and ''[[La Vie de Jésus|Life of Jesus]]'' (give or take the [[Grand Prix (Cannes Film Festival)|Cannes Grand Prix]]-winning ''[[Humanité|L'Humanité]]'', ''Outside Satan'' flirts with all-out absurdity, as if managing to keep it at bay will be the director's own miracle, highly subject to interpretation. Less debatable are the film's technical merits, with d.p. Yves Cape delivering naturalistic beauty on a wide canvas, and the on-location sound work capturing every minute nuance of bird-chirps, cock-crows, and blasts of both wind and, uh, shotgun."<ref>{{cite news|last=Nelson |first=Rob |date=16 May 2011 |url=https://www.variety.com/review/VE1117945244?refcatid=31 |title=Outside Satan |work=[[Variety (magazine)|Variety]] |accessdate=16 May 2011}}</ref>

British film critic [[Peter Bradshaw]] of ''[[The Guardian]]'' gave the film 4 out of 5 stars, saying that "Bruno Dumont's film-making is just so fluent, unnerving, gripping; he is entirely unique".<ref>{{cite news|url=https://www.theguardian.com/film/2013/jan/03/hors-satan-review |title=Hors Satan (Outside Satan) – review |work=[[The Guardian]] |author=Peter Bradshaw |date=3 January 2013 |location=London}}</ref> [[Lisa Schwarzbaum]] of ''Entertainment Weekly'' granted the film a B+ and called it an "austerely wild, religiously amoral drama... set in untamed northern coastal France," adding, "Dumont's rigorous, serious attention to the mysteries of good, evil, and faith rewards those willing to be confounded."<ref>{{cite journal |url=https://www.ew.com/ew/article/0,,20665274,00.html |last= Schwarzbaum |first= Lisa |authorlink= Lisa Schwarzbaum |title= Outside Satan |journal= [[Entertainment Weekly]] |date= 20 January 2013 |location= New York |publisher= Time Inc. |page= 101 |accessdate= 11 April 2014}}</ref>

==References==
{{Reflist}}

==External links==
* {{IMDb title|1666168}}

{{Bruno Dumont}}

{{DEFAULTSORT:Hors Satan}}
[[Category:2011 drama films]]
[[Category:2011 films]]
[[Category:Films directed by Bruno Dumont]]
[[Category:French drama films]]
[[Category:French films]]
[[Category:French-language films]]

Tom Cora

2021-01-24T19:38:30Z

Invulgo: undid my revision adding death details - already present in article - apologies

{{short description|American cellist and composer}}
{{Use mdy dates|date=July 2020}}
{{Infobox musical artist | 
| name = Tom Cora
| image = TomCora MoersJazzFestival 1997.jpg
| image_size = 250
| landscape = yes
| caption = Cora at the [[Moers Festival|Moers Jazz Festival]], 1997
| background = non_vocal_instrumentalist
| birth_name = Thomas Henry Corra
| birth_date = {{birth date|1953|9|14|mf=y}}
| birth_place = [[Yancey Mills, Virginia]], U.S.
| death_date = {{death date and age|1998|4|9|1953|9|14|mf=y}}
| death_place = [[Draguignan]], France
| genre = [[Jazz]], [[avant-rock]], [[experimental music|experimental]], [[free improvisation]]
| occupation = Musician, composer
| instrument = Cello
| years_active = 1979–1998
| label = [[No Man's Land (record label)|No Man's Land]], Sound Aspects
| associated_acts = [[Skeleton Crew (band)|Skeleton Crew]], [[The Ex (band)|The Ex]], [[Curlew (band)|Curlew]], [[Third Person (band)|Third Person]], Roof
}}

'''Thomas Henry Corra''' (September 14, 1953 – April 9, 1998), better known as '''Tom Cora''', was an American cellist and composer, best known for his [[Free improvisation|improvisational]] performances in the field of [[Experimental music|experimental]] [[jazz]] and [[Rock and roll|rock]]. He recorded with [[John Zorn]], [[Butch Morris]], and [[The Ex (band)|the Ex]], and was a member of [[Curlew (band)|Curlew]], [[Third Person (band)|Third Person]] and [[Skeleton Crew (band)|Skeleton Crew]].

==Biography==

Tom Cora was born in [[Yancey Mills, Virginia]], United States. He made his musical debut as drummer on a local television program and in the mid-1970s he played guitar for a Washington, D.C. [[jazz]] club [[house band]]. He took up the cello while an undergraduate at the [[University of Virginia]] and studied with cellist [[Pablo Casals]]' student [[Luis Garcia-Renart]] and later with [[Vibraphone|vibraphonist]] [[Karl Berger]]. During this time he formed his own group, the Moose Skowron Tuned Metal Ensemble and began constructing instruments for it.

In 1979 Cora moved to New York City, where he worked with [[Shockabilly]] guitarist [[Eugene Chadbourne]], introducing the cello to the [[honky tonk]] circuits of North America. He performed at [[Free improvisation|improvising]] clubs and venues in New York with [[John Zorn]], [[Fred Frith]], [[Andrea Centazzo]], [[Butch Morris]], [[Wayne Horvitz]], [[David Moss (musician)|David Moss]], [[Toshinori Kondo]] and others. Cora also collaborated with [[George Cartwright (musician)|George Cartwright]] and [[Bill Laswell]] which led to the formation of the [[art rock]] band [[Curlew (band)|Curlew]] in 1979. Cora remained with Curlew for over ten years and appeared on five of their albums.

In 1982 Tom Cora and Fred Frith formed [[Skeleton Crew (band)|Skeleton Crew]], an improvising [[Rock and roll|rock]] and [[jazz]] band best known for their live performances where they played various instruments simultaneously. Cora and Frith were each [[one-man band]]s on stage and for their act, Cora constructed musical contraptions he could play with his feet. The band existed for five years during which time they toured Europe, North America and Japan extensively. They made two studio albums, ''[[Learn to Talk]]'' (1984) and ''[[The Country of Blinds]]'' (1986), the latter with [[Zeena Parkins]] who had joined the band in 1984. In October 1983 Skeleton Crew joined [[Duck and Cover (German band)|Duck and Cover]], a commission from the [[Berlin Jazz Festival]], for a performance in [[West Berlin]], followed by another in February 1984 in [[East Berlin]].

Cora was also a member of the improvising trio [[Third Person (band)|Third Person]], formed in 1990 as a live collaboration with percussionist [[Samm Bennett]] and a "third person" who changed from concert to concert. Two CDs of some of their performances were released, ''The Bends'' in 1991 (with "third persons" [[Don Byron]], George Cartwright, Chris Cochrane, [[Nic Collins]], [[Catherine Jauniaux]], [[Myra Melford]], Zeena Parkins, and [[Marc Ribot]]) and ''Luck Water'' in 1995 (with "third person" [[Kazutoki Umezu]]).

[[File:TomCora with TheEx.jpg|thumb|200px|left|Cora performing with [[The Ex (band)|the Ex]].]]

Cora performed with a number of other bands, including [[Nimal (band)|Nimal]] with [[Momo Rossel]] and [[post-rock]] [[quartet]] [[Roof (band)|Roof]]. In 1990, he played two concerts with Dutch [[anarcho-punk]] band, [[The Ex (band)|the Ex]], and the success of this collaboration resulted in Cora performing hundreds of concerts with the Ex and appearing on two of their CDs. In 1995 in The Netherlands, Cora and Frith collaborated, as Skeleton Crew, on ''[[Etymology (album)|Etymology]]'', a CD-ROM sound sample library of sonic sounds and wire manipulations.

Tom Cora died of [[malignant melanoma]] at the age of 44 in a hospital in the south of France, where he lived with his wife, singer Catherine Jauniaux, and their son, Elia Corra.<ref name=Ankeny>{{cite web|last=Ankeny|first=Jason|title=Tom Cora|url={{Allmusic|class=artist|id=tom-cora-mn0000063353/biography|pure_url=yes}}|publisher=[[AllMusic]]|access-date=June 17, 2015}}</ref><ref name=downtownmusicgallery/>

A month after Cora's death, a [[benefit concert]] in aid of his family was held at the [[Knitting Factory]] with appearances by Catherine Jauniaux, Fred Frith, George Cartwright, Zeena Parkins and others. A CD of this concert, ''It's a Brand New Day – Live at the Knitting Factory'', produced by John Zorn, was released on [[Knitting Factory Records]] in 2000. But the good intentions of all concerned were never realised when Knitting Factory Records was bought out and Jauniaux received no royalties from the sale of the CD.<ref name=downtownmusicgallery>{{cite web |url=http://www.downtownmusicgallery.com/Main/news/Newsletter-2004-12-11.html |title=The Knitting Factory/Instinct/Evolver Records boycott |work=Downtown Music Gallery |access-date=November 22, 2006}}</ref>

John Zorn also compiled ''[[Hallelujah, Anyway – Remembering Tom Cora]]'', a two-CD set featuring a selection of recordings by Cora and some of the groups he recorded with, plus new recordings of Cora's compositions.

Cora appeared in Nicolas Humbert and Werner Penzel's 1990 documentary film on Fred Frith, ''[[Step Across the Border]]'', in which Cora and Frith are filmed rehearsing at [[The Kitchen]], New York City in February 1989.

===Solo work===

In addition to performing with other bands and musicians, Cora began a solo concert career in 1986. The prospect of managing a concert-length performance single-handedly was a challenge with risks, but he learned to balance risk with intention and the results were solo performances across North America, Europe and Japan. Two live albums from some of these performances were released in 1987 and 1991.

While in The Netherlands, Cora spent two months at [[STEIM]], the [[Electro-acoustic music|electro-acoustic]] research centre in [[Amsterdam]], where he tailored a live [[Sampling (music)|sampling]] and triggering system to be played with his feet. He unveiled the system in a 25 concert solo tour in 1992. Unfortunately, the unique tailor-made instrument constructed at STEIM was later lost, forgotten on a train while touring Switzerland.

Besides performing, Cora composed music for the [[National Film Board of Canada]], choreographer [[Donna Uchizono]] (for which he received a New York Dance and Performance Award in 1990), and a solo cello film score for [[Dziga Vertov]]'s, ''Man with the Movie Camera'', commissioned by the [[American Museum of the Moving Image]]. In 1994 Cora was awarded a Meet the Composer Commissioning Grant to compose an ensemble score for ''Man with the Movie Camera''. It was performed at several North American venues and in Europe in 1996.

===Technique===

Tom Cora's cello was [[Prepared guitar|prepared]], [[electronically]] modified and highly [[Amplifier|amplified]]. He developed the style of playing sawed chords and percussive riffs as if his cello was an electric guitar. He banged, scraped and twisted it and did whatever else was necessary to produce the sounds he wanted.

Cora explored non-idiomatic improvising and studied Turkish and [[Eastern European]] [[folk music]]. The influence of this folk music is evident in much of his work. Skeleton Crew once devoted an entire concert to playing only Eastern European folk tunes.

On stage, his presence was striking. Ed Baxter noted in his biography of Tom Cora:<ref>{{cite web |url=http://www.l-m-c.org.uk/texts/cora.html |title=Tom Cora biography |work=London Musicians Collective |first=Ed |last=Baxter |access-date=November 22, 2006 |archive-url = https://web.archive.org/web/20050306195352/http://www.l-m-c.org.uk/texts/cora.html |archive-date = March 6, 2005}}</ref>
{{cquote|With his saturnine good looks and gaunt demeanour, he brought a hint of American Gothic to the ever-shifting cartoon soundtrack of the downtown scene. Poised over his instrument and more often than not with all four limbs busy playing something, his was a compelling stage presence.}}

==Discography==
'''Solo'''
* ''Live at the Western Front'' (1987, [[No Man's Land (record label)|No Man's Land]])
* ''Gumption in Limbo'' (1991, Sound Aspects)

'''Curlew'''
* ''Curlew'' (1981, Landslide)
* ''North America'' (1985, [[Moers Music|Moers]])
* ''Live in Berlin'' (1988, [[Cuneiform Records|Cuneiform]])
* ''Bee'' (1991, Cuneiform)
* ''A Beautiful Western Saddle'' (1993, Cuneiform)

'''Skeleton Crew'''
* ''[[Learn to Talk]]'' (1984, Rift)
* ''[[The Country of Blinds]]'' (1986, Rift)
* ''[[Learn to Talk / Country of Blinds]]'' (1990, [[RecRec Music|RecRec]])
* ''[[Etymology (album)|Etymology]]'' (1997, Rarefaction)

'''The Ex'''
* ''[[Scrabbling at the Lock]]'' (1991, RecRec)
* ''[[And the Weathermen Shrug Their Shoulders]]'' (1993, RecRec)

'''Roof'''
* ''The Untraceable Cigar'' (1996, Red Note)
* ''Trace'' (1999, Red Note)

'''Third Person'''
* ''The Bends'' (1991, [[Knitting Factory]])
* ''Lucky Water'' (1995, Knitting Factory)

'''With others'''
* [[Andrea Centazzo]]: ''Environment for Sextet'' (1979, [[Ictus Records|Ictus]])
* [[Eugene Chadbourne]]: ''2000 Statues and the English Channel'' (1979, [[Parachute Records (Eugene Chadbourne)|Parachute]])
* [[John Zorn]]: ''Archery'' (1982, Parachute)
* Tom Cora and [[David Moss (musician)|David Moss]]: ''Cargo Cult Revival'' (1983, Rift)
* [[Ferdinand Richard]]: ''[[En Avant]]'' (1983, RecRec)
* [[Duck and Cover (German band)|Duck and Cover]]: ''[[ReR Quarterly|Re Records Quarterly Vol.1 No.2]]'' (1985, [[Recommended Records|Recommended]])
* Tom Cora and [[Hans Reichel]]: ''Angel Carver: Live in Milwaukee and Chicago'' (1989, [[FMP/Free Music Production|FMP]])
* [[Rene Lussier]]: ''[[Le tresor de la langue]]'' (1989, [[Ambiances Magnétiques]])
* [[Nimal (band)|Nimal]]: ''Voix de Surface'' (1990, RecRec)
* [[The Hat Shoes]]: ''Differently Desperate'' (1991, RecRec)
* [[Tetsuhiro Daiku]]: ''Yunta & Jiraba'' (1993, Disc Akabana)
* [[Richard Teitelbaum]]: ''Cyberband'' (1994, Moers)
* [[Kazutoki Umezu]]: ''First Deserter'' (1995, Off Note)
* [[Fred Frith]]: ''[[Allies (Fred Frith album)|Allies (Music for Dance volume 2)]]'' (1996, RecRec)
* [[Butch Morris]]: ''Testament: A Conduction Collection'' (1996, [[New World Records|New World]])
* Tom Cora and various artists: ''[[Hallelujah, Anyway – Remembering Tom Cora]]'' (1999, [[Tzadik Records|Tzadik]])

==Footnotes==
{{reflist}}

==External links==
*[https://www.myspace.com/tomcora Tom Cora Myspace Memorial].
*[http://nyds-discographies.com/cora.htm Tom Cora discography] – [https://web.archive.org/web/20190619155344/http://nyds-discographies.com/cora.htm archived] June 19, 2019 at the [[Wayback Machine]]
*[http://www.rarefaction.com/crewbios.html Tom Cora biography]. ''Etymology Bio Page''.
*{{webarchive |url=https://web.archive.org/web/20050306195352/http://www.l-m-c.org.uk/texts/cora.html |date=March 6, 2005 |title=Tom Cora biography }}. ''London Musicians Collective''.
*{{YouTube|HjQAzGfJQuM|Tom Cora}}.

{{Skeleton Crew (band)|state=expanded}}

{{Authority control}}

{{DEFAULTSORT:Cora, Tom}}
[[Category:1953 births]]
[[Category:1998 deaths]]
[[Category:American male composers]]
[[Category:American jazz cellists]]
[[Category:American male jazz musicians]]
[[Category:Curlew (band) members]]
[[Category:Free improvisation]]
[[Category:People from Albemarle County, Virginia]]
[[Category:University of Virginia alumni]]
[[Category:Tzadik Records artists]]
[[Category:Skeleton Crew (band) members]]
[[Category:Deaths from melanoma]]
[[Category:20th-century American composers]]
[[Category:Jazz musicians from Virginia]]
[[Category:20th-century American male musicians]]

Tom Cora

2021-01-24T19:35:53Z

Invulgo: Undid revision 1002505235 by Invulgo (talk)

{{short description|American cellist and composer}}
{{Use mdy dates|date=July 2020}}
{{Infobox musical artist | 
| name = Tom Cora
| image = TomCora MoersJazzFestival 1997.jpg
| image_size = 250
| landscape = yes
| caption = Cora at the [[Moers Festival|Moers Jazz Festival]], 1997
| background = non_vocal_instrumentalist
| birth_name = Thomas Henry Corra
| birth_date = {{birth date|1953|9|14|mf=y}}
| birth_place = [[Yancey Mills, Virginia]], U.S.
| death_date = {{death date and age|1998|4|9|1953|9|14|mf=y}}
| death_place = [[Draguignan]], France
| genre = [[Jazz]], [[avant-rock]], [[experimental music|experimental]], [[free improvisation]]
| occupation = Musician, composer
| instrument = Cello
| years_active = 1979–1998
| label = [[No Man's Land (record label)|No Man's Land]], Sound Aspects
| associated_acts = [[Skeleton Crew (band)|Skeleton Crew]], [[The Ex (band)|The Ex]], [[Curlew (band)|Curlew]], [[Third Person (band)|Third Person]], Roof
}}

'''Thomas Henry Corra''' (September 14, 1953 – April 9, 1998), better known as '''Tom Cora''', was an American cellist and composer, best known for his [[Free improvisation|improvisational]] performances in the field of [[Experimental music|experimental]] [[jazz]] and [[Rock and roll|rock]]. He recorded with [[John Zorn]], [[Butch Morris]], and [[The Ex (band)|the Ex]], and was a member of [[Curlew (band)|Curlew]], [[Third Person (band)|Third Person]] and [[Skeleton Crew (band)|Skeleton Crew]].

==Biography==

Tom Cora was born in [[Yancey Mills, Virginia]], United States. He made his musical debut as drummer on a local television program and in the mid-1970s he played guitar for a Washington, D.C. [[jazz]] club [[house band]]. He took up the cello while an undergraduate at the [[University of Virginia]] and studied with cellist [[Pablo Casals]]' student [[Luis Garcia-Renart]] and later with [[Vibraphone|vibraphonist]] [[Karl Berger]]. During this time he formed his own group, the Moose Skowron Tuned Metal Ensemble and began constructing instruments for it.

In 1979 Cora moved to New York City, where he worked with [[Shockabilly]] guitarist [[Eugene Chadbourne]], introducing the cello to the [[honky tonk]] circuits of North America. He performed at [[Free improvisation|improvising]] clubs and venues in New York with [[John Zorn]], [[Fred Frith]], [[Andrea Centazzo]], [[Butch Morris]], [[Wayne Horvitz]], [[David Moss (musician)|David Moss]], [[Toshinori Kondo]] and others. Cora also collaborated with [[George Cartwright (musician)|George Cartwright]] and [[Bill Laswell]] which led to the formation of the [[art rock]] band [[Curlew (band)|Curlew]] in 1979. Cora remained with Curlew for over ten years and appeared on five of their albums.

In 1982 Tom Cora and Fred Frith formed [[Skeleton Crew (band)|Skeleton Crew]], an improvising [[Rock and roll|rock]] and [[jazz]] band best known for their live performances where they played various instruments simultaneously. Cora and Frith were each [[one-man band]]s on stage and for their act, Cora constructed musical contraptions he could play with his feet. The band existed for five years during which time they toured Europe, North America and Japan extensively. They made two studio albums, ''[[Learn to Talk]]'' (1984) and ''[[The Country of Blinds]]'' (1986), the latter with [[Zeena Parkins]] who had joined the band in 1984. In October 1983 Skeleton Crew joined [[Duck and Cover (German band)|Duck and Cover]], a commission from the [[Berlin Jazz Festival]], for a performance in [[West Berlin]], followed by another in February 1984 in [[East Berlin]].

Cora was also a member of the improvising trio [[Third Person (band)|Third Person]], formed in 1990 as a live collaboration with percussionist [[Samm Bennett]] and a "third person" who changed from concert to concert. Two CDs of some of their performances were released, ''The Bends'' in 1991 (with "third persons" [[Don Byron]], George Cartwright, Chris Cochrane, [[Nic Collins]], [[Catherine Jauniaux]], [[Myra Melford]], Zeena Parkins, and [[Marc Ribot]]) and ''Luck Water'' in 1995 (with "third person" [[Kazutoki Umezu]]).

Cora died of [[Melanoma]]in France at 44.<ref>https://www.nytimes.com/1998/04/14/arts/tom-cora-44-new-music-cellist-with-flair-for-the-avant-garde.html</ref>

[[File:TomCora with TheEx.jpg|thumb|200px|left|Cora performing with [[The Ex (band)|the Ex]].]]

Cora performed with a number of other bands, including [[Nimal (band)|Nimal]] with [[Momo Rossel]] and [[post-rock]] [[quartet]] [[Roof (band)|Roof]]. In 1990, he played two concerts with Dutch [[anarcho-punk]] band, [[The Ex (band)|the Ex]], and the success of this collaboration resulted in Cora performing hundreds of concerts with the Ex and appearing on two of their CDs. In 1995 in The Netherlands, Cora and Frith collaborated, as Skeleton Crew, on ''[[Etymology (album)|Etymology]]'', a CD-ROM sound sample library of sonic sounds and wire manipulations.

Tom Cora died of [[malignant melanoma]] at the age of 44 in a hospital in the south of France, where he lived with his wife, singer Catherine Jauniaux, and their son, Elia Corra.<ref name=Ankeny>{{cite web|last=Ankeny|first=Jason|title=Tom Cora|url={{Allmusic|class=artist|id=tom-cora-mn0000063353/biography|pure_url=yes}}|publisher=[[AllMusic]]|access-date=June 17, 2015}}</ref><ref name=downtownmusicgallery/>

A month after Cora's death, a [[benefit concert]] in aid of his family was held at the [[Knitting Factory]] with appearances by Catherine Jauniaux, Fred Frith, George Cartwright, Zeena Parkins and others. A CD of this concert, ''It's a Brand New Day – Live at the Knitting Factory'', produced by John Zorn, was released on [[Knitting Factory Records]] in 2000. But the good intentions of all concerned were never realised when Knitting Factory Records was bought out and Jauniaux received no royalties from the sale of the CD.<ref name=downtownmusicgallery>{{cite web |url=http://www.downtownmusicgallery.com/Main/news/Newsletter-2004-12-11.html |title=The Knitting Factory/Instinct/Evolver Records boycott |work=Downtown Music Gallery |access-date=November 22, 2006}}</ref>

John Zorn also compiled ''[[Hallelujah, Anyway – Remembering Tom Cora]]'', a two-CD set featuring a selection of recordings by Cora and some of the groups he recorded with, plus new recordings of Cora's compositions.

Cora appeared in Nicolas Humbert and Werner Penzel's 1990 documentary film on Fred Frith, ''[[Step Across the Border]]'', in which Cora and Frith are filmed rehearsing at [[The Kitchen]], New York City in February 1989.

===Solo work===

In addition to performing with other bands and musicians, Cora began a solo concert career in 1986. The prospect of managing a concert-length performance single-handedly was a challenge with risks, but he learned to balance risk with intention and the results were solo performances across North America, Europe and Japan. Two live albums from some of these performances were released in 1987 and 1991.

While in The Netherlands, Cora spent two months at [[STEIM]], the [[Electro-acoustic music|electro-acoustic]] research centre in [[Amsterdam]], where he tailored a live [[Sampling (music)|sampling]] and triggering system to be played with his feet. He unveiled the system in a 25 concert solo tour in 1992. Unfortunately, the unique tailor-made instrument constructed at STEIM was later lost, forgotten on a train while touring Switzerland.

Besides performing, Cora composed music for the [[National Film Board of Canada]], choreographer [[Donna Uchizono]] (for which he received a New York Dance and Performance Award in 1990), and a solo cello film score for [[Dziga Vertov]]'s, ''Man with the Movie Camera'', commissioned by the [[American Museum of the Moving Image]]. In 1994 Cora was awarded a Meet the Composer Commissioning Grant to compose an ensemble score for ''Man with the Movie Camera''. It was performed at several North American venues and in Europe in 1996.

===Technique===

Tom Cora's cello was [[Prepared guitar|prepared]], [[electronically]] modified and highly [[Amplifier|amplified]]. He developed the style of playing sawed chords and percussive riffs as if his cello was an electric guitar. He banged, scraped and twisted it and did whatever else was necessary to produce the sounds he wanted.

Cora explored non-idiomatic improvising and studied Turkish and [[Eastern European]] [[folk music]]. The influence of this folk music is evident in much of his work. Skeleton Crew once devoted an entire concert to playing only Eastern European folk tunes.

On stage, his presence was striking. Ed Baxter noted in his biography of Tom Cora:<ref>{{cite web |url=http://www.l-m-c.org.uk/texts/cora.html |title=Tom Cora biography |work=London Musicians Collective |first=Ed |last=Baxter |access-date=November 22, 2006 |archive-url = https://web.archive.org/web/20050306195352/http://www.l-m-c.org.uk/texts/cora.html |archive-date = March 6, 2005}}</ref>
{{cquote|With his saturnine good looks and gaunt demeanour, he brought a hint of American Gothic to the ever-shifting cartoon soundtrack of the downtown scene. Poised over his instrument and more often than not with all four limbs busy playing something, his was a compelling stage presence.}}

==Discography==
'''Solo'''
* ''Live at the Western Front'' (1987, [[No Man's Land (record label)|No Man's Land]])
* ''Gumption in Limbo'' (1991, Sound Aspects)

'''Curlew'''
* ''Curlew'' (1981, Landslide)
* ''North America'' (1985, [[Moers Music|Moers]])
* ''Live in Berlin'' (1988, [[Cuneiform Records|Cuneiform]])
* ''Bee'' (1991, Cuneiform)
* ''A Beautiful Western Saddle'' (1993, Cuneiform)

'''Skeleton Crew'''
* ''[[Learn to Talk]]'' (1984, Rift)
* ''[[The Country of Blinds]]'' (1986, Rift)
* ''[[Learn to Talk / Country of Blinds]]'' (1990, [[RecRec Music|RecRec]])
* ''[[Etymology (album)|Etymology]]'' (1997, Rarefaction)

'''The Ex'''
* ''[[Scrabbling at the Lock]]'' (1991, RecRec)
* ''[[And the Weathermen Shrug Their Shoulders]]'' (1993, RecRec)

'''Roof'''
* ''The Untraceable Cigar'' (1996, Red Note)
* ''Trace'' (1999, Red Note)

'''Third Person'''
* ''The Bends'' (1991, [[Knitting Factory]])
* ''Lucky Water'' (1995, Knitting Factory)

'''With others'''
* [[Andrea Centazzo]]: ''Environment for Sextet'' (1979, [[Ictus Records|Ictus]])
* [[Eugene Chadbourne]]: ''2000 Statues and the English Channel'' (1979, [[Parachute Records (Eugene Chadbourne)|Parachute]])
* [[John Zorn]]: ''Archery'' (1982, Parachute)
* Tom Cora and [[David Moss (musician)|David Moss]]: ''Cargo Cult Revival'' (1983, Rift)
* [[Ferdinand Richard]]: ''[[En Avant]]'' (1983, RecRec)
* [[Duck and Cover (German band)|Duck and Cover]]: ''[[ReR Quarterly|Re Records Quarterly Vol.1 No.2]]'' (1985, [[Recommended Records|Recommended]])
* Tom Cora and [[Hans Reichel]]: ''Angel Carver: Live in Milwaukee and Chicago'' (1989, [[FMP/Free Music Production|FMP]])
* [[Rene Lussier]]: ''[[Le tresor de la langue]]'' (1989, [[Ambiances Magnétiques]])
* [[Nimal (band)|Nimal]]: ''Voix de Surface'' (1990, RecRec)
* [[The Hat Shoes]]: ''Differently Desperate'' (1991, RecRec)
* [[Tetsuhiro Daiku]]: ''Yunta & Jiraba'' (1993, Disc Akabana)
* [[Richard Teitelbaum]]: ''Cyberband'' (1994, Moers)
* [[Kazutoki Umezu]]: ''First Deserter'' (1995, Off Note)
* [[Fred Frith]]: ''[[Allies (Fred Frith album)|Allies (Music for Dance volume 2)]]'' (1996, RecRec)
* [[Butch Morris]]: ''Testament: A Conduction Collection'' (1996, [[New World Records|New World]])
* Tom Cora and various artists: ''[[Hallelujah, Anyway – Remembering Tom Cora]]'' (1999, [[Tzadik Records|Tzadik]])

==Footnotes==
{{reflist}}

==External links==
*[https://www.myspace.com/tomcora Tom Cora Myspace Memorial].
*[http://nyds-discographies.com/cora.htm Tom Cora discography] – [https://web.archive.org/web/20190619155344/http://nyds-discographies.com/cora.htm archived] June 19, 2019 at the [[Wayback Machine]]
*[http://www.rarefaction.com/crewbios.html Tom Cora biography]. ''Etymology Bio Page''.
*{{webarchive |url=https://web.archive.org/web/20050306195352/http://www.l-m-c.org.uk/texts/cora.html |date=March 6, 2005 |title=Tom Cora biography }}. ''London Musicians Collective''.
*{{YouTube|HjQAzGfJQuM|Tom Cora}}.

{{Skeleton Crew (band)|state=expanded}}

{{Authority control}}

{{DEFAULTSORT:Cora, Tom}}
[[Category:1953 births]]
[[Category:1998 deaths]]
[[Category:American male composers]]
[[Category:American jazz cellists]]
[[Category:American male jazz musicians]]
[[Category:Curlew (band) members]]
[[Category:Free improvisation]]
[[Category:People from Albemarle County, Virginia]]
[[Category:University of Virginia alumni]]
[[Category:Tzadik Records artists]]
[[Category:Skeleton Crew (band) members]]
[[Category:Deaths from melanoma]]
[[Category:20th-century American composers]]
[[Category:Jazz musicians from Virginia]]
[[Category:20th-century American male musicians]]

Tom Cora

2021-01-24T19:35:15Z

Invulgo: Undid revision 1002506175 by Invulgo (talk)

{{short description|American cellist and composer}}
{{Use mdy dates|date=July 2020}}
{{Infobox musical artist | 
| name = Tom Cora
| image = TomCora MoersJazzFestival 1997.jpg
| image_size = 250
| landscape = yes
| caption = Cora at the [[Moers Festival|Moers Jazz Festival]], 1997
| background = non_vocal_instrumentalist
| birth_name = Thomas Henry Corra
| birth_date = {{birth date|1953|9|14|mf=y}}
| birth_place = [[Yancey Mills, Virginia]], U.S.
| death_date = {{death date and age|1998|4|9|1953|9|14|mf=y}}
| death_place = [[Draguignan]], France
| genre = [[Jazz]], [[avant-rock]], [[experimental music|experimental]], [[free improvisation]]
| occupation = Musician, composer
| instrument = Cello
| years_active = 1979–1998
| label = [[No Man's Land (record label)|No Man's Land]], Sound Aspects
| associated_acts = [[Skeleton Crew (band)|Skeleton Crew]], [[The Ex (band)|The Ex]], [[Curlew (band)|Curlew]], [[Third Person (band)|Third Person]], Roof
}}

'''Thomas Henry Corra''' (September 14, 1953 – April 9, 1998), better known as '''Tom Cora''', was an American cellist and composer, best known for his [[Free improvisation|improvisational]] performances in the field of [[Experimental music|experimental]] [[jazz]] and [[Rock and roll|rock]]. He recorded with [[John Zorn]], [[Butch Morris]], and [[The Ex (band)|the Ex]], and was a member of [[Curlew (band)|Curlew]], [[Third Person (band)|Third Person]] and [[Skeleton Crew (band)|Skeleton Crew]].

==Biography==

Tom Cora was born in [[Yancey Mills, Virginia]], United States. He made his musical debut as drummer on a local television program and in the mid-1970s he played guitar for a Washington, D.C. [[jazz]] club [[house band]]. He took up the cello while an undergraduate at the [[University of Virginia]] and studied with cellist [[Pablo Casals]]' student [[Luis Garcia-Renart]] and later with [[Vibraphone|vibraphonist]] [[Karl Berger]]. During this time he formed his own group, the Moose Skowron Tuned Metal Ensemble and began constructing instruments for it.

In 1979 Cora moved to New York City, where he worked with [[Shockabilly]] guitarist [[Eugene Chadbourne]], introducing the cello to the [[honky tonk]] circuits of North America. He performed at [[Free improvisation|improvising]] clubs and venues in New York with [[John Zorn]], [[Fred Frith]], [[Andrea Centazzo]], [[Butch Morris]], [[Wayne Horvitz]], [[David Moss (musician)|David Moss]], [[Toshinori Kondo]] and others. Cora also collaborated with [[George Cartwright (musician)|George Cartwright]] and [[Bill Laswell]] which led to the formation of the [[art rock]] band [[Curlew (band)|Curlew]] in 1979. Cora remained with Curlew for over ten years and appeared on five of their albums.

In 1982 Tom Cora and Fred Frith formed [[Skeleton Crew (band)|Skeleton Crew]], an improvising [[Rock and roll|rock]] and [[jazz]] band best known for their live performances where they played various instruments simultaneously. Cora and Frith were each [[one-man band]]s on stage and for their act, Cora constructed musical contraptions he could play with his feet. The band existed for five years during which time they toured Europe, North America and Japan extensively. They made two studio albums, ''[[Learn to Talk]]'' (1984) and ''[[The Country of Blinds]]'' (1986), the latter with [[Zeena Parkins]] who had joined the band in 1984. In October 1983 Skeleton Crew joined [[Duck and Cover (German band)|Duck and Cover]], a commission from the [[Berlin Jazz Festival]], for a performance in [[West Berlin]], followed by another in February 1984 in [[East Berlin]].

Cora was also a member of the improvising trio [[Third Person (band)|Third Person]], formed in 1990 as a live collaboration with percussionist [[Samm Bennett]] and a "third person" who changed from concert to concert. Two CDs of some of their performances were released, ''The Bends'' in 1991 (with "third persons" [[Don Byron]], George Cartwright, Chris Cochrane, [[Nic Collins]], [[Catherine Jauniaux]], [[Myra Melford]], Zeena Parkins, and [[Marc Ribot]]) and ''Luck Water'' in 1995 (with "third person" [[Kazutoki Umezu]]).

Cora died of [[Melanoma]]in France aged 44.<ref>https://www.nytimes.com/1998/04/14/arts/tom-cora-44-new-music-cellist-with-flair-for-the-avant-garde.html</ref>

[[File:TomCora with TheEx.jpg|thumb|200px|left|Cora performing with [[The Ex (band)|the Ex]].]]

Cora performed with a number of other bands, including [[Nimal (band)|Nimal]] with [[Momo Rossel]] and [[post-rock]] [[quartet]] [[Roof (band)|Roof]]. In 1990, he played two concerts with Dutch [[anarcho-punk]] band, [[The Ex (band)|the Ex]], and the success of this collaboration resulted in Cora performing hundreds of concerts with the Ex and appearing on two of their CDs. In 1995 in The Netherlands, Cora and Frith collaborated, as Skeleton Crew, on ''[[Etymology (album)|Etymology]]'', a CD-ROM sound sample library of sonic sounds and wire manipulations.

Tom Cora died of [[malignant melanoma]] at the age of 44 in a hospital in the south of France, where he lived with his wife, singer Catherine Jauniaux, and their son, Elia Corra.<ref name=Ankeny>{{cite web|last=Ankeny|first=Jason|title=Tom Cora|url={{Allmusic|class=artist|id=tom-cora-mn0000063353/biography|pure_url=yes}}|publisher=[[AllMusic]]|access-date=June 17, 2015}}</ref><ref name=downtownmusicgallery/>

A month after Cora's death, a [[benefit concert]] in aid of his family was held at the [[Knitting Factory]] with appearances by Catherine Jauniaux, Fred Frith, George Cartwright, Zeena Parkins and others. A CD of this concert, ''It's a Brand New Day – Live at the Knitting Factory'', produced by John Zorn, was released on [[Knitting Factory Records]] in 2000. But the good intentions of all concerned were never realised when Knitting Factory Records was bought out and Jauniaux received no royalties from the sale of the CD.<ref name=downtownmusicgallery>{{cite web |url=http://www.downtownmusicgallery.com/Main/news/Newsletter-2004-12-11.html |title=The Knitting Factory/Instinct/Evolver Records boycott |work=Downtown Music Gallery |access-date=November 22, 2006}}</ref>

John Zorn also compiled ''[[Hallelujah, Anyway – Remembering Tom Cora]]'', a two-CD set featuring a selection of recordings by Cora and some of the groups he recorded with, plus new recordings of Cora's compositions.

Cora appeared in Nicolas Humbert and Werner Penzel's 1990 documentary film on Fred Frith, ''[[Step Across the Border]]'', in which Cora and Frith are filmed rehearsing at [[The Kitchen]], New York City in February 1989.

===Solo work===

In addition to performing with other bands and musicians, Cora began a solo concert career in 1986. The prospect of managing a concert-length performance single-handedly was a challenge with risks, but he learned to balance risk with intention and the results were solo performances across North America, Europe and Japan. Two live albums from some of these performances were released in 1987 and 1991.

While in The Netherlands, Cora spent two months at [[STEIM]], the [[Electro-acoustic music|electro-acoustic]] research centre in [[Amsterdam]], where he tailored a live [[Sampling (music)|sampling]] and triggering system to be played with his feet. He unveiled the system in a 25 concert solo tour in 1992. Unfortunately, the unique tailor-made instrument constructed at STEIM was later lost, forgotten on a train while touring Switzerland.

Besides performing, Cora composed music for the [[National Film Board of Canada]], choreographer [[Donna Uchizono]] (for which he received a New York Dance and Performance Award in 1990), and a solo cello film score for [[Dziga Vertov]]'s, ''Man with the Movie Camera'', commissioned by the [[American Museum of the Moving Image]]. In 1994 Cora was awarded a Meet the Composer Commissioning Grant to compose an ensemble score for ''Man with the Movie Camera''. It was performed at several North American venues and in Europe in 1996.

===Technique===

Tom Cora's cello was [[Prepared guitar|prepared]], [[electronically]] modified and highly [[Amplifier|amplified]]. He developed the style of playing sawed chords and percussive riffs as if his cello was an electric guitar. He banged, scraped and twisted it and did whatever else was necessary to produce the sounds he wanted.

Cora explored non-idiomatic improvising and studied Turkish and [[Eastern European]] [[folk music]]. The influence of this folk music is evident in much of his work. Skeleton Crew once devoted an entire concert to playing only Eastern European folk tunes.

On stage, his presence was striking. Ed Baxter noted in his biography of Tom Cora:<ref>{{cite web |url=http://www.l-m-c.org.uk/texts/cora.html |title=Tom Cora biography |work=London Musicians Collective |first=Ed |last=Baxter |access-date=November 22, 2006 |archive-url = https://web.archive.org/web/20050306195352/http://www.l-m-c.org.uk/texts/cora.html |archive-date = March 6, 2005}}</ref>
{{cquote|With his saturnine good looks and gaunt demeanour, he brought a hint of American Gothic to the ever-shifting cartoon soundtrack of the downtown scene. Poised over his instrument and more often than not with all four limbs busy playing something, his was a compelling stage presence.}}

==Discography==
'''Solo'''
* ''Live at the Western Front'' (1987, [[No Man's Land (record label)|No Man's Land]])
* ''Gumption in Limbo'' (1991, Sound Aspects)

'''Curlew'''
* ''Curlew'' (1981, Landslide)
* ''North America'' (1985, [[Moers Music|Moers]])
* ''Live in Berlin'' (1988, [[Cuneiform Records|Cuneiform]])
* ''Bee'' (1991, Cuneiform)
* ''A Beautiful Western Saddle'' (1993, Cuneiform)

'''Skeleton Crew'''
* ''[[Learn to Talk]]'' (1984, Rift)
* ''[[The Country of Blinds]]'' (1986, Rift)
* ''[[Learn to Talk / Country of Blinds]]'' (1990, [[RecRec Music|RecRec]])
* ''[[Etymology (album)|Etymology]]'' (1997, Rarefaction)

'''The Ex'''
* ''[[Scrabbling at the Lock]]'' (1991, RecRec)
* ''[[And the Weathermen Shrug Their Shoulders]]'' (1993, RecRec)

'''Roof'''
* ''The Untraceable Cigar'' (1996, Red Note)
* ''Trace'' (1999, Red Note)

'''Third Person'''
* ''The Bends'' (1991, [[Knitting Factory]])
* ''Lucky Water'' (1995, Knitting Factory)

'''With others'''
* [[Andrea Centazzo]]: ''Environment for Sextet'' (1979, [[Ictus Records|Ictus]])
* [[Eugene Chadbourne]]: ''2000 Statues and the English Channel'' (1979, [[Parachute Records (Eugene Chadbourne)|Parachute]])
* [[John Zorn]]: ''Archery'' (1982, Parachute)
* Tom Cora and [[David Moss (musician)|David Moss]]: ''Cargo Cult Revival'' (1983, Rift)
* [[Ferdinand Richard]]: ''[[En Avant]]'' (1983, RecRec)
* [[Duck and Cover (German band)|Duck and Cover]]: ''[[ReR Quarterly|Re Records Quarterly Vol.1 No.2]]'' (1985, [[Recommended Records|Recommended]])
* Tom Cora and [[Hans Reichel]]: ''Angel Carver: Live in Milwaukee and Chicago'' (1989, [[FMP/Free Music Production|FMP]])
* [[Rene Lussier]]: ''[[Le tresor de la langue]]'' (1989, [[Ambiances Magnétiques]])
* [[Nimal (band)|Nimal]]: ''Voix de Surface'' (1990, RecRec)
* [[The Hat Shoes]]: ''Differently Desperate'' (1991, RecRec)
* [[Tetsuhiro Daiku]]: ''Yunta & Jiraba'' (1993, Disc Akabana)
* [[Richard Teitelbaum]]: ''Cyberband'' (1994, Moers)
* [[Kazutoki Umezu]]: ''First Deserter'' (1995, Off Note)
* [[Fred Frith]]: ''[[Allies (Fred Frith album)|Allies (Music for Dance volume 2)]]'' (1996, RecRec)
* [[Butch Morris]]: ''Testament: A Conduction Collection'' (1996, [[New World Records|New World]])
* Tom Cora and various artists: ''[[Hallelujah, Anyway – Remembering Tom Cora]]'' (1999, [[Tzadik Records|Tzadik]])

==Footnotes==
{{reflist}}

==External links==
*[https://www.myspace.com/tomcora Tom Cora Myspace Memorial].
*[http://nyds-discographies.com/cora.htm Tom Cora discography] – [https://web.archive.org/web/20190619155344/http://nyds-discographies.com/cora.htm archived] June 19, 2019 at the [[Wayback Machine]]
*[http://www.rarefaction.com/crewbios.html Tom Cora biography]. ''Etymology Bio Page''.
*{{webarchive |url=https://web.archive.org/web/20050306195352/http://www.l-m-c.org.uk/texts/cora.html |date=March 6, 2005 |title=Tom Cora biography }}. ''London Musicians Collective''.
*{{YouTube|HjQAzGfJQuM|Tom Cora}}.

{{Skeleton Crew (band)|state=expanded}}

{{Authority control}}

{{DEFAULTSORT:Cora, Tom}}
[[Category:1953 births]]
[[Category:1998 deaths]]
[[Category:American male composers]]
[[Category:American jazz cellists]]
[[Category:American male jazz musicians]]
[[Category:Curlew (band) members]]
[[Category:Free improvisation]]
[[Category:People from Albemarle County, Virginia]]
[[Category:University of Virginia alumni]]
[[Category:Tzadik Records artists]]
[[Category:Skeleton Crew (band) members]]
[[Category:Deaths from melanoma]]
[[Category:20th-century American composers]]
[[Category:Jazz musicians from Virginia]]
[[Category:20th-century American male musicians]]

Tom Cora

2021-01-24T19:33:50Z

Invulgo:

{{short description|American cellist and composer}}
{{Use mdy dates|date=July 2020}}
{{Infobox musical artist | 
| name = Tom Cora
| image = TomCora MoersJazzFestival 1997.jpg
| image_size = 250
| landscape = yes
| caption = Cora at the [[Moers Festival|Moers Jazz Festival]], 1997
| background = non_vocal_instrumentalist
| birth_name = Thomas Henry Corra
| birth_date = {{birth date|1953|9|14|mf=y}}
| birth_place = [[Yancey Mills, Virginia]], U.S.
| death_date = {{death date and age|1998|4|9|1953|9|14|mf=y}}
| death_place = [[Draguignan]], France
| genre = [[Jazz]], [[avant-rock]], [[experimental music|experimental]], [[free improvisation]]
| occupation = Musician, composer
| instrument = Cello
| years_active = 1979–1998
| label = [[No Man's Land (record label)|No Man's Land]], Sound Aspects
| associated_acts = [[Skeleton Crew (band)|Skeleton Crew]], [[The Ex (band)|The Ex]], [[Curlew (band)|Curlew]], [[Third Person (band)|Third Person]], Roof
}}

'''Thomas Henry Corra''' (September 14, 1953 – April 9, 1998), better known as '''Tom Cora''', was an American cellist and composer, best known for his [[Free improvisation|improvisational]] performances in the field of [[Experimental music|experimental]] [[jazz]] and [[Rock and roll|rock]]. He recorded with [[John Zorn]], [[Butch Morris]], and [[The Ex (band)|the Ex]], and was a member of [[Curlew (band)|Curlew]], [[Third Person (band)|Third Person]] and [[Skeleton Crew (band)|Skeleton Crew]].

==Biography==

Tom Cora was born in [[Yancey Mills, Virginia]], United States. He made his musical debut as drummer on a local television program and in the mid-1970s he played guitar for a Washington, D.C. [[jazz]] club [[house band]]. He took up the cello while an undergraduate at the [[University of Virginia]] and studied with cellist [[Pablo Casals]]' student [[Luis Garcia-Renart]] and later with [[Vibraphone|vibraphonist]] [[Karl Berger]]. During this time he formed his own group, the Moose Skowron Tuned Metal Ensemble and began constructing instruments for it.

In 1979 Cora moved to New York City, where he worked with [[Shockabilly]] guitarist [[Eugene Chadbourne]], introducing the cello to the [[honky tonk]] circuits of North America. He performed at [[Free improvisation|improvising]] clubs and venues in New York with [[John Zorn]], [[Fred Frith]], [[Andrea Centazzo]], [[Butch Morris]], [[Wayne Horvitz]], [[David Moss (musician)|David Moss]], [[Toshinori Kondo]] and others. Cora also collaborated with [[George Cartwright (musician)|George Cartwright]] and [[Bill Laswell]] which led to the formation of the [[art rock]] band [[Curlew (band)|Curlew]] in 1979. Cora remained with Curlew for over ten years and appeared on five of their albums.

In 1982 Tom Cora and Fred Frith formed [[Skeleton Crew (band)|Skeleton Crew]], an improvising [[Rock and roll|rock]] and [[jazz]] band best known for their live performances where they played various instruments simultaneously. Cora and Frith were each [[one-man band]]s on stage and for their act, Cora constructed musical contraptions he could play with his feet. The band existed for five years during which time they toured Europe, North America and Japan extensively. They made two studio albums, ''[[Learn to Talk]]'' (1984) and ''[[The Country of Blinds]]'' (1986), the latter with [[Zeena Parkins]] who had joined the band in 1984. In October 1983 Skeleton Crew joined [[Duck and Cover (German band)|Duck and Cover]], a commission from the [[Berlin Jazz Festival]], for a performance in [[West Berlin]], followed by another in February 1984 in [[East Berlin]].

Cora was also a member of the improvising trio [[Third Person (band)|Third Person]], formed in 1990 as a live collaboration with percussionist [[Samm Bennett]] and a "third person" who changed from concert to concert. Two CDs of some of their performances were released, ''The Bends'' in 1991 (with "third persons" [[Don Byron]], George Cartwright, Chris Cochrane, [[Nic Collins]], [[Catherine Jauniaux]], [[Myra Melford]], Zeena Parkins, and [[Marc Ribot]]) and ''Luck Water'' in 1995 (with "third person" [[Kazutoki Umezu]]).

Cora died of [[Melanoma]] in France aged 44.<ref>https://www.nytimes.com/1998/04/14/arts/tom-cora-44-new-music-cellist-with-flair-for-the-avant-garde.html</ref>

[[File:TomCora with TheEx.jpg|thumb|200px|left|Cora performing with [[The Ex (band)|the Ex]].]]

Cora performed with a number of other bands, including [[Nimal (band)|Nimal]] with [[Momo Rossel]] and [[post-rock]] [[quartet]] [[Roof (band)|Roof]]. In 1990, he played two concerts with Dutch [[anarcho-punk]] band, [[The Ex (band)|the Ex]], and the success of this collaboration resulted in Cora performing hundreds of concerts with the Ex and appearing on two of their CDs. In 1995 in The Netherlands, Cora and Frith collaborated, as Skeleton Crew, on ''[[Etymology (album)|Etymology]]'', a CD-ROM sound sample library of sonic sounds and wire manipulations.

Tom Cora died of [[malignant melanoma]] at the age of 44 in a hospital in the south of France, where he lived with his wife, singer Catherine Jauniaux, and their son, Elia Corra.<ref name=Ankeny>{{cite web|last=Ankeny|first=Jason|title=Tom Cora|url={{Allmusic|class=artist|id=tom-cora-mn0000063353/biography|pure_url=yes}}|publisher=[[AllMusic]]|access-date=June 17, 2015}}</ref><ref name=downtownmusicgallery/>

A month after Cora's death, a [[benefit concert]] in aid of his family was held at the [[Knitting Factory]] with appearances by Catherine Jauniaux, Fred Frith, George Cartwright, Zeena Parkins and others. A CD of this concert, ''It's a Brand New Day – Live at the Knitting Factory'', produced by John Zorn, was released on [[Knitting Factory Records]] in 2000. But the good intentions of all concerned were never realised when Knitting Factory Records was bought out and Jauniaux received no royalties from the sale of the CD.<ref name=downtownmusicgallery>{{cite web |url=http://www.downtownmusicgallery.com/Main/news/Newsletter-2004-12-11.html |title=The Knitting Factory/Instinct/Evolver Records boycott |work=Downtown Music Gallery |access-date=November 22, 2006}}</ref>

John Zorn also compiled ''[[Hallelujah, Anyway – Remembering Tom Cora]]'', a two-CD set featuring a selection of recordings by Cora and some of the groups he recorded with, plus new recordings of Cora's compositions.

Cora appeared in Nicolas Humbert and Werner Penzel's 1990 documentary film on Fred Frith, ''[[Step Across the Border]]'', in which Cora and Frith are filmed rehearsing at [[The Kitchen]], New York City in February 1989.

===Solo work===

In addition to performing with other bands and musicians, Cora began a solo concert career in 1986. The prospect of managing a concert-length performance single-handedly was a challenge with risks, but he learned to balance risk with intention and the results were solo performances across North America, Europe and Japan. Two live albums from some of these performances were released in 1987 and 1991.

While in The Netherlands, Cora spent two months at [[STEIM]], the [[Electro-acoustic music|electro-acoustic]] research centre in [[Amsterdam]], where he tailored a live [[Sampling (music)|sampling]] and triggering system to be played with his feet. He unveiled the system in a 25 concert solo tour in 1992. Unfortunately, the unique tailor-made instrument constructed at STEIM was later lost, forgotten on a train while touring Switzerland.

Besides performing, Cora composed music for the [[National Film Board of Canada]], choreographer [[Donna Uchizono]] (for which he received a New York Dance and Performance Award in 1990), and a solo cello film score for [[Dziga Vertov]]'s, ''Man with the Movie Camera'', commissioned by the [[American Museum of the Moving Image]]. In 1994 Cora was awarded a Meet the Composer Commissioning Grant to compose an ensemble score for ''Man with the Movie Camera''. It was performed at several North American venues and in Europe in 1996.

===Technique===

Tom Cora's cello was [[Prepared guitar|prepared]], [[electronically]] modified and highly [[Amplifier|amplified]]. He developed the style of playing sawed chords and percussive riffs as if his cello was an electric guitar. He banged, scraped and twisted it and did whatever else was necessary to produce the sounds he wanted.

Cora explored non-idiomatic improvising and studied Turkish and [[Eastern European]] [[folk music]]. The influence of this folk music is evident in much of his work. Skeleton Crew once devoted an entire concert to playing only Eastern European folk tunes.

On stage, his presence was striking. Ed Baxter noted in his biography of Tom Cora:<ref>{{cite web |url=http://www.l-m-c.org.uk/texts/cora.html |title=Tom Cora biography |work=London Musicians Collective |first=Ed |last=Baxter |access-date=November 22, 2006 |archive-url = https://web.archive.org/web/20050306195352/http://www.l-m-c.org.uk/texts/cora.html |archive-date = March 6, 2005}}</ref>
{{cquote|With his saturnine good looks and gaunt demeanour, he brought a hint of American Gothic to the ever-shifting cartoon soundtrack of the downtown scene. Poised over his instrument and more often than not with all four limbs busy playing something, his was a compelling stage presence.}}

==Discography==
'''Solo'''
* ''Live at the Western Front'' (1987, [[No Man's Land (record label)|No Man's Land]])
* ''Gumption in Limbo'' (1991, Sound Aspects)

'''Curlew'''
* ''Curlew'' (1981, Landslide)
* ''North America'' (1985, [[Moers Music|Moers]])
* ''Live in Berlin'' (1988, [[Cuneiform Records|Cuneiform]])
* ''Bee'' (1991, Cuneiform)
* ''A Beautiful Western Saddle'' (1993, Cuneiform)

'''Skeleton Crew'''
* ''[[Learn to Talk]]'' (1984, Rift)
* ''[[The Country of Blinds]]'' (1986, Rift)
* ''[[Learn to Talk / Country of Blinds]]'' (1990, [[RecRec Music|RecRec]])
* ''[[Etymology (album)|Etymology]]'' (1997, Rarefaction)

'''The Ex'''
* ''[[Scrabbling at the Lock]]'' (1991, RecRec)
* ''[[And the Weathermen Shrug Their Shoulders]]'' (1993, RecRec)

'''Roof'''
* ''The Untraceable Cigar'' (1996, Red Note)
* ''Trace'' (1999, Red Note)

'''Third Person'''
* ''The Bends'' (1991, [[Knitting Factory]])
* ''Lucky Water'' (1995, Knitting Factory)

'''With others'''
* [[Andrea Centazzo]]: ''Environment for Sextet'' (1979, [[Ictus Records|Ictus]])
* [[Eugene Chadbourne]]: ''2000 Statues and the English Channel'' (1979, [[Parachute Records (Eugene Chadbourne)|Parachute]])
* [[John Zorn]]: ''Archery'' (1982, Parachute)
* Tom Cora and [[David Moss (musician)|David Moss]]: ''Cargo Cult Revival'' (1983, Rift)
* [[Ferdinand Richard]]: ''[[En Avant]]'' (1983, RecRec)
* [[Duck and Cover (German band)|Duck and Cover]]: ''[[ReR Quarterly|Re Records Quarterly Vol.1 No.2]]'' (1985, [[Recommended Records|Recommended]])
* Tom Cora and [[Hans Reichel]]: ''Angel Carver: Live in Milwaukee and Chicago'' (1989, [[FMP/Free Music Production|FMP]])
* [[Rene Lussier]]: ''[[Le tresor de la langue]]'' (1989, [[Ambiances Magnétiques]])
* [[Nimal (band)|Nimal]]: ''Voix de Surface'' (1990, RecRec)
* [[The Hat Shoes]]: ''Differently Desperate'' (1991, RecRec)
* [[Tetsuhiro Daiku]]: ''Yunta & Jiraba'' (1993, Disc Akabana)
* [[Richard Teitelbaum]]: ''Cyberband'' (1994, Moers)
* [[Kazutoki Umezu]]: ''First Deserter'' (1995, Off Note)
* [[Fred Frith]]: ''[[Allies (Fred Frith album)|Allies (Music for Dance volume 2)]]'' (1996, RecRec)
* [[Butch Morris]]: ''Testament: A Conduction Collection'' (1996, [[New World Records|New World]])
* Tom Cora and various artists: ''[[Hallelujah, Anyway – Remembering Tom Cora]]'' (1999, [[Tzadik Records|Tzadik]])

==Footnotes==
{{reflist}}

==External links==
*[https://www.myspace.com/tomcora Tom Cora Myspace Memorial].
*[http://nyds-discographies.com/cora.htm Tom Cora discography] – [https://web.archive.org/web/20190619155344/http://nyds-discographies.com/cora.htm archived] June 19, 2019 at the [[Wayback Machine]]
*[http://www.rarefaction.com/crewbios.html Tom Cora biography]. ''Etymology Bio Page''.
*{{webarchive |url=https://web.archive.org/web/20050306195352/http://www.l-m-c.org.uk/texts/cora.html |date=March 6, 2005 |title=Tom Cora biography }}. ''London Musicians Collective''.
*{{YouTube|HjQAzGfJQuM|Tom Cora}}.

{{Skeleton Crew (band)|state=expanded}}

{{Authority control}}

{{DEFAULTSORT:Cora, Tom}}
[[Category:1953 births]]
[[Category:1998 deaths]]
[[Category:American male composers]]
[[Category:American jazz cellists]]
[[Category:American male jazz musicians]]
[[Category:Curlew (band) members]]
[[Category:Free improvisation]]
[[Category:People from Albemarle County, Virginia]]
[[Category:University of Virginia alumni]]
[[Category:Tzadik Records artists]]
[[Category:Skeleton Crew (band) members]]
[[Category:Deaths from melanoma]]
[[Category:20th-century American composers]]
[[Category:Jazz musicians from Virginia]]
[[Category:20th-century American male musicians]]

Tom Cora

2021-01-24T19:28:41Z

Invulgo: /* Biography */

{{short description|American cellist and composer}}
{{Use mdy dates|date=July 2020}}
{{Infobox musical artist | 
| name = Tom Cora
| image = TomCora MoersJazzFestival 1997.jpg
| image_size = 250
| landscape = yes
| caption = Cora at the [[Moers Festival|Moers Jazz Festival]], 1997
| background = non_vocal_instrumentalist
| birth_name = Thomas Henry Corra
| birth_date = {{birth date|1953|9|14|mf=y}}
| birth_place = [[Yancey Mills, Virginia]], U.S.
| death_date = {{death date and age|1998|4|9|1953|9|14|mf=y}}
| death_place = [[Draguignan]], France
| genre = [[Jazz]], [[avant-rock]], [[experimental music|experimental]], [[free improvisation]]
| occupation = Musician, composer
| instrument = Cello
| years_active = 1979–1998
| label = [[No Man's Land (record label)|No Man's Land]], Sound Aspects
| associated_acts = [[Skeleton Crew (band)|Skeleton Crew]], [[The Ex (band)|The Ex]], [[Curlew (band)|Curlew]], [[Third Person (band)|Third Person]], Roof
}}

'''Thomas Henry Corra''' (September 14, 1953 – April 9, 1998), better known as '''Tom Cora''', was an American cellist and composer, best known for his [[Free improvisation|improvisational]] performances in the field of [[Experimental music|experimental]] [[jazz]] and [[Rock and roll|rock]]. He recorded with [[John Zorn]], [[Butch Morris]], and [[The Ex (band)|the Ex]], and was a member of [[Curlew (band)|Curlew]], [[Third Person (band)|Third Person]] and [[Skeleton Crew (band)|Skeleton Crew]].

==Biography==

Tom Cora was born in [[Yancey Mills, Virginia]], United States. He made his musical debut as drummer on a local television program and in the mid-1970s he played guitar for a Washington, D.C. [[jazz]] club [[house band]]. He took up the cello while an undergraduate at the [[University of Virginia]] and studied with cellist [[Pablo Casals]]' student [[Luis Garcia-Renart]] and later with [[Vibraphone|vibraphonist]] [[Karl Berger]]. During this time he formed his own group, the Moose Skowron Tuned Metal Ensemble and began constructing instruments for it.

In 1979 Cora moved to New York City, where he worked with [[Shockabilly]] guitarist [[Eugene Chadbourne]], introducing the cello to the [[honky tonk]] circuits of North America. He performed at [[Free improvisation|improvising]] clubs and venues in New York with [[John Zorn]], [[Fred Frith]], [[Andrea Centazzo]], [[Butch Morris]], [[Wayne Horvitz]], [[David Moss (musician)|David Moss]], [[Toshinori Kondo]] and others. Cora also collaborated with [[George Cartwright (musician)|George Cartwright]] and [[Bill Laswell]] which led to the formation of the [[art rock]] band [[Curlew (band)|Curlew]] in 1979. Cora remained with Curlew for over ten years and appeared on five of their albums.

In 1982 Tom Cora and Fred Frith formed [[Skeleton Crew (band)|Skeleton Crew]], an improvising [[Rock and roll|rock]] and [[jazz]] band best known for their live performances where they played various instruments simultaneously. Cora and Frith were each [[one-man band]]s on stage and for their act, Cora constructed musical contraptions he could play with his feet. The band existed for five years during which time they toured Europe, North America and Japan extensively. They made two studio albums, ''[[Learn to Talk]]'' (1984) and ''[[The Country of Blinds]]'' (1986), the latter with [[Zeena Parkins]] who had joined the band in 1984. In October 1983 Skeleton Crew joined [[Duck and Cover (German band)|Duck and Cover]], a commission from the [[Berlin Jazz Festival]], for a performance in [[West Berlin]], followed by another in February 1984 in [[East Berlin]].

Cora was also a member of the improvising trio [[Third Person (band)|Third Person]], formed in 1990 as a live collaboration with percussionist [[Samm Bennett]] and a "third person" who changed from concert to concert. Two CDs of some of their performances were released, ''The Bends'' in 1991 (with "third persons" [[Don Byron]], George Cartwright, Chris Cochrane, [[Nic Collins]], [[Catherine Jauniaux]], [[Myra Melford]], Zeena Parkins, and [[Marc Ribot]]) and ''Luck Water'' in 1995 (with "third person" [[Kazutoki Umezu]]).

Cora died of [[Melanoma]]in France aged 44.<ref>https://www.nytimes.com/1998/04/14/arts/tom-cora-44-new-music-cellist-with-flair-for-the-avant-garde.html</ref>

[[File:TomCora with TheEx.jpg|thumb|200px|left|Cora performing with [[The Ex (band)|the Ex]].]]

Cora performed with a number of other bands, including [[Nimal (band)|Nimal]] with [[Momo Rossel]] and [[post-rock]] [[quartet]] [[Roof (band)|Roof]]. In 1990, he played two concerts with Dutch [[anarcho-punk]] band, [[The Ex (band)|the Ex]], and the success of this collaboration resulted in Cora performing hundreds of concerts with the Ex and appearing on two of their CDs. In 1995 in The Netherlands, Cora and Frith collaborated, as Skeleton Crew, on ''[[Etymology (album)|Etymology]]'', a CD-ROM sound sample library of sonic sounds and wire manipulations.

Tom Cora died of [[malignant melanoma]] at the age of 44 in a hospital in the south of France, where he lived with his wife, singer Catherine Jauniaux, and their son, Elia Corra.<ref name=Ankeny>{{cite web|last=Ankeny|first=Jason|title=Tom Cora|url={{Allmusic|class=artist|id=tom-cora-mn0000063353/biography|pure_url=yes}}|publisher=[[AllMusic]]|access-date=June 17, 2015}}</ref><ref name=downtownmusicgallery/>

A month after Cora's death, a [[benefit concert]] in aid of his family was held at the [[Knitting Factory]] with appearances by Catherine Jauniaux, Fred Frith, George Cartwright, Zeena Parkins and others. A CD of this concert, ''It's a Brand New Day – Live at the Knitting Factory'', produced by John Zorn, was released on [[Knitting Factory Records]] in 2000. But the good intentions of all concerned were never realised when Knitting Factory Records was bought out and Jauniaux received no royalties from the sale of the CD.<ref name=downtownmusicgallery>{{cite web |url=http://www.downtownmusicgallery.com/Main/news/Newsletter-2004-12-11.html |title=The Knitting Factory/Instinct/Evolver Records boycott |work=Downtown Music Gallery |access-date=November 22, 2006}}</ref>

John Zorn also compiled ''[[Hallelujah, Anyway – Remembering Tom Cora]]'', a two-CD set featuring a selection of recordings by Cora and some of the groups he recorded with, plus new recordings of Cora's compositions.

Cora appeared in Nicolas Humbert and Werner Penzel's 1990 documentary film on Fred Frith, ''[[Step Across the Border]]'', in which Cora and Frith are filmed rehearsing at [[The Kitchen]], New York City in February 1989.

===Solo work===

In addition to performing with other bands and musicians, Cora began a solo concert career in 1986. The prospect of managing a concert-length performance single-handedly was a challenge with risks, but he learned to balance risk with intention and the results were solo performances across North America, Europe and Japan. Two live albums from some of these performances were released in 1987 and 1991.

While in The Netherlands, Cora spent two months at [[STEIM]], the [[Electro-acoustic music|electro-acoustic]] research centre in [[Amsterdam]], where he tailored a live [[Sampling (music)|sampling]] and triggering system to be played with his feet. He unveiled the system in a 25 concert solo tour in 1992. Unfortunately, the unique tailor-made instrument constructed at STEIM was later lost, forgotten on a train while touring Switzerland.

Besides performing, Cora composed music for the [[National Film Board of Canada]], choreographer [[Donna Uchizono]] (for which he received a New York Dance and Performance Award in 1990), and a solo cello film score for [[Dziga Vertov]]'s, ''Man with the Movie Camera'', commissioned by the [[American Museum of the Moving Image]]. In 1994 Cora was awarded a Meet the Composer Commissioning Grant to compose an ensemble score for ''Man with the Movie Camera''. It was performed at several North American venues and in Europe in 1996.

===Technique===

Tom Cora's cello was [[Prepared guitar|prepared]], [[electronically]] modified and highly [[Amplifier|amplified]]. He developed the style of playing sawed chords and percussive riffs as if his cello was an electric guitar. He banged, scraped and twisted it and did whatever else was necessary to produce the sounds he wanted.

Cora explored non-idiomatic improvising and studied Turkish and [[Eastern European]] [[folk music]]. The influence of this folk music is evident in much of his work. Skeleton Crew once devoted an entire concert to playing only Eastern European folk tunes.

On stage, his presence was striking. Ed Baxter noted in his biography of Tom Cora:<ref>{{cite web |url=http://www.l-m-c.org.uk/texts/cora.html |title=Tom Cora biography |work=London Musicians Collective |first=Ed |last=Baxter |access-date=November 22, 2006 |archive-url = https://web.archive.org/web/20050306195352/http://www.l-m-c.org.uk/texts/cora.html |archive-date = March 6, 2005}}</ref>
{{cquote|With his saturnine good looks and gaunt demeanour, he brought a hint of American Gothic to the ever-shifting cartoon soundtrack of the downtown scene. Poised over his instrument and more often than not with all four limbs busy playing something, his was a compelling stage presence.}}

==Discography==
'''Solo'''
* ''Live at the Western Front'' (1987, [[No Man's Land (record label)|No Man's Land]])
* ''Gumption in Limbo'' (1991, Sound Aspects)

'''Curlew'''
* ''Curlew'' (1981, Landslide)
* ''North America'' (1985, [[Moers Music|Moers]])
* ''Live in Berlin'' (1988, [[Cuneiform Records|Cuneiform]])
* ''Bee'' (1991, Cuneiform)
* ''A Beautiful Western Saddle'' (1993, Cuneiform)

'''Skeleton Crew'''
* ''[[Learn to Talk]]'' (1984, Rift)
* ''[[The Country of Blinds]]'' (1986, Rift)
* ''[[Learn to Talk / Country of Blinds]]'' (1990, [[RecRec Music|RecRec]])
* ''[[Etymology (album)|Etymology]]'' (1997, Rarefaction)

'''The Ex'''
* ''[[Scrabbling at the Lock]]'' (1991, RecRec)
* ''[[And the Weathermen Shrug Their Shoulders]]'' (1993, RecRec)

'''Roof'''
* ''The Untraceable Cigar'' (1996, Red Note)
* ''Trace'' (1999, Red Note)

'''Third Person'''
* ''The Bends'' (1991, [[Knitting Factory]])
* ''Lucky Water'' (1995, Knitting Factory)

'''With others'''
* [[Andrea Centazzo]]: ''Environment for Sextet'' (1979, [[Ictus Records|Ictus]])
* [[Eugene Chadbourne]]: ''2000 Statues and the English Channel'' (1979, [[Parachute Records (Eugene Chadbourne)|Parachute]])
* [[John Zorn]]: ''Archery'' (1982, Parachute)
* Tom Cora and [[David Moss (musician)|David Moss]]: ''Cargo Cult Revival'' (1983, Rift)
* [[Ferdinand Richard]]: ''[[En Avant]]'' (1983, RecRec)
* [[Duck and Cover (German band)|Duck and Cover]]: ''[[ReR Quarterly|Re Records Quarterly Vol.1 No.2]]'' (1985, [[Recommended Records|Recommended]])
* Tom Cora and [[Hans Reichel]]: ''Angel Carver: Live in Milwaukee and Chicago'' (1989, [[FMP/Free Music Production|FMP]])
* [[Rene Lussier]]: ''[[Le tresor de la langue]]'' (1989, [[Ambiances Magnétiques]])
* [[Nimal (band)|Nimal]]: ''Voix de Surface'' (1990, RecRec)
* [[The Hat Shoes]]: ''Differently Desperate'' (1991, RecRec)
* [[Tetsuhiro Daiku]]: ''Yunta & Jiraba'' (1993, Disc Akabana)
* [[Richard Teitelbaum]]: ''Cyberband'' (1994, Moers)
* [[Kazutoki Umezu]]: ''First Deserter'' (1995, Off Note)
* [[Fred Frith]]: ''[[Allies (Fred Frith album)|Allies (Music for Dance volume 2)]]'' (1996, RecRec)
* [[Butch Morris]]: ''Testament: A Conduction Collection'' (1996, [[New World Records|New World]])
* Tom Cora and various artists: ''[[Hallelujah, Anyway – Remembering Tom Cora]]'' (1999, [[Tzadik Records|Tzadik]])

==Footnotes==
{{reflist}}

==External links==
*[https://www.myspace.com/tomcora Tom Cora Myspace Memorial].
*[http://nyds-discographies.com/cora.htm Tom Cora discography] – [https://web.archive.org/web/20190619155344/http://nyds-discographies.com/cora.htm archived] June 19, 2019 at the [[Wayback Machine]]
*[http://www.rarefaction.com/crewbios.html Tom Cora biography]. ''Etymology Bio Page''.
*{{webarchive |url=https://web.archive.org/web/20050306195352/http://www.l-m-c.org.uk/texts/cora.html |date=March 6, 2005 |title=Tom Cora biography }}. ''London Musicians Collective''.
*{{YouTube|HjQAzGfJQuM|Tom Cora}}.

{{Skeleton Crew (band)|state=expanded}}

{{Authority control}}

{{DEFAULTSORT:Cora, Tom}}
[[Category:1953 births]]
[[Category:1998 deaths]]
[[Category:American male composers]]
[[Category:American jazz cellists]]
[[Category:American male jazz musicians]]
[[Category:Curlew (band) members]]
[[Category:Free improvisation]]
[[Category:People from Albemarle County, Virginia]]
[[Category:University of Virginia alumni]]
[[Category:Tzadik Records artists]]
[[Category:Skeleton Crew (band) members]]
[[Category:Deaths from melanoma]]
[[Category:20th-century American composers]]
[[Category:Jazz musicians from Virginia]]
[[Category:20th-century American male musicians]]

Tom Cora

2021-01-24T19:26:38Z

Invulgo: /* Biography */ added death details as supplied by The New York Times

{{short description|American cellist and composer}}
{{Use mdy dates|date=July 2020}}
{{Infobox musical artist | 
| name = Tom Cora
| image = TomCora MoersJazzFestival 1997.jpg
| image_size = 250
| landscape = yes
| caption = Cora at the [[Moers Festival|Moers Jazz Festival]], 1997
| background = non_vocal_instrumentalist
| birth_name = Thomas Henry Corra
| birth_date = {{birth date|1953|9|14|mf=y}}
| birth_place = [[Yancey Mills, Virginia]], U.S.
| death_date = {{death date and age|1998|4|9|1953|9|14|mf=y}}
| death_place = [[Draguignan]], France
| genre = [[Jazz]], [[avant-rock]], [[experimental music|experimental]], [[free improvisation]]
| occupation = Musician, composer
| instrument = Cello
| years_active = 1979–1998
| label = [[No Man's Land (record label)|No Man's Land]], Sound Aspects
| associated_acts = [[Skeleton Crew (band)|Skeleton Crew]], [[The Ex (band)|The Ex]], [[Curlew (band)|Curlew]], [[Third Person (band)|Third Person]], Roof
}}

'''Thomas Henry Corra''' (September 14, 1953 – April 9, 1998), better known as '''Tom Cora''', was an American cellist and composer, best known for his [[Free improvisation|improvisational]] performances in the field of [[Experimental music|experimental]] [[jazz]] and [[Rock and roll|rock]]. He recorded with [[John Zorn]], [[Butch Morris]], and [[The Ex (band)|the Ex]], and was a member of [[Curlew (band)|Curlew]], [[Third Person (band)|Third Person]] and [[Skeleton Crew (band)|Skeleton Crew]].

==Biography==

Tom Cora was born in [[Yancey Mills, Virginia]], United States. He made his musical debut as drummer on a local television program and in the mid-1970s he played guitar for a Washington, D.C. [[jazz]] club [[house band]]. He took up the cello while an undergraduate at the [[University of Virginia]] and studied with cellist [[Pablo Casals]]' student [[Luis Garcia-Renart]] and later with [[Vibraphone|vibraphonist]] [[Karl Berger]]. During this time he formed his own group, the Moose Skowron Tuned Metal Ensemble and began constructing instruments for it.

In 1979 Cora moved to New York City, where he worked with [[Shockabilly]] guitarist [[Eugene Chadbourne]], introducing the cello to the [[honky tonk]] circuits of North America. He performed at [[Free improvisation|improvising]] clubs and venues in New York with [[John Zorn]], [[Fred Frith]], [[Andrea Centazzo]], [[Butch Morris]], [[Wayne Horvitz]], [[David Moss (musician)|David Moss]], [[Toshinori Kondo]] and others. Cora also collaborated with [[George Cartwright (musician)|George Cartwright]] and [[Bill Laswell]] which led to the formation of the [[art rock]] band [[Curlew (band)|Curlew]] in 1979. Cora remained with Curlew for over ten years and appeared on five of their albums.

In 1982 Tom Cora and Fred Frith formed [[Skeleton Crew (band)|Skeleton Crew]], an improvising [[Rock and roll|rock]] and [[jazz]] band best known for their live performances where they played various instruments simultaneously. Cora and Frith were each [[one-man band]]s on stage and for their act, Cora constructed musical contraptions he could play with his feet. The band existed for five years during which time they toured Europe, North America and Japan extensively. They made two studio albums, ''[[Learn to Talk]]'' (1984) and ''[[The Country of Blinds]]'' (1986), the latter with [[Zeena Parkins]] who had joined the band in 1984. In October 1983 Skeleton Crew joined [[Duck and Cover (German band)|Duck and Cover]], a commission from the [[Berlin Jazz Festival]], for a performance in [[West Berlin]], followed by another in February 1984 in [[East Berlin]].

Cora was also a member of the improvising trio [[Third Person (band)|Third Person]], formed in 1990 as a live collaboration with percussionist [[Samm Bennett]] and a "third person" who changed from concert to concert. Two CDs of some of their performances were released, ''The Bends'' in 1991 (with "third persons" [[Don Byron]], George Cartwright, Chris Cochrane, [[Nic Collins]], [[Catherine Jauniaux]], [[Myra Melford]], Zeena Parkins, and [[Marc Ribot]]) and ''Luck Water'' in 1995 (with "third person" [[Kazutoki Umezu]]).

Cora died of [[Melanoma]]in France at 44.<ref>https://www.nytimes.com/1998/04/14/arts/tom-cora-44-new-music-cellist-with-flair-for-the-avant-garde.html</ref>

[[File:TomCora with TheEx.jpg|thumb|200px|left|Cora performing with [[The Ex (band)|the Ex]].]]

Cora performed with a number of other bands, including [[Nimal (band)|Nimal]] with [[Momo Rossel]] and [[post-rock]] [[quartet]] [[Roof (band)|Roof]]. In 1990, he played two concerts with Dutch [[anarcho-punk]] band, [[The Ex (band)|the Ex]], and the success of this collaboration resulted in Cora performing hundreds of concerts with the Ex and appearing on two of their CDs. In 1995 in The Netherlands, Cora and Frith collaborated, as Skeleton Crew, on ''[[Etymology (album)|Etymology]]'', a CD-ROM sound sample library of sonic sounds and wire manipulations.

Tom Cora died of [[malignant melanoma]] at the age of 44 in a hospital in the south of France, where he lived with his wife, singer Catherine Jauniaux, and their son, Elia Corra.<ref name=Ankeny>{{cite web|last=Ankeny|first=Jason|title=Tom Cora|url={{Allmusic|class=artist|id=tom-cora-mn0000063353/biography|pure_url=yes}}|publisher=[[AllMusic]]|access-date=June 17, 2015}}</ref><ref name=downtownmusicgallery/>

A month after Cora's death, a [[benefit concert]] in aid of his family was held at the [[Knitting Factory]] with appearances by Catherine Jauniaux, Fred Frith, George Cartwright, Zeena Parkins and others. A CD of this concert, ''It's a Brand New Day – Live at the Knitting Factory'', produced by John Zorn, was released on [[Knitting Factory Records]] in 2000. But the good intentions of all concerned were never realised when Knitting Factory Records was bought out and Jauniaux received no royalties from the sale of the CD.<ref name=downtownmusicgallery>{{cite web |url=http://www.downtownmusicgallery.com/Main/news/Newsletter-2004-12-11.html |title=The Knitting Factory/Instinct/Evolver Records boycott |work=Downtown Music Gallery |access-date=November 22, 2006}}</ref>

John Zorn also compiled ''[[Hallelujah, Anyway – Remembering Tom Cora]]'', a two-CD set featuring a selection of recordings by Cora and some of the groups he recorded with, plus new recordings of Cora's compositions.

Cora appeared in Nicolas Humbert and Werner Penzel's 1990 documentary film on Fred Frith, ''[[Step Across the Border]]'', in which Cora and Frith are filmed rehearsing at [[The Kitchen]], New York City in February 1989.

===Solo work===

In addition to performing with other bands and musicians, Cora began a solo concert career in 1986. The prospect of managing a concert-length performance single-handedly was a challenge with risks, but he learned to balance risk with intention and the results were solo performances across North America, Europe and Japan. Two live albums from some of these performances were released in 1987 and 1991.

While in The Netherlands, Cora spent two months at [[STEIM]], the [[Electro-acoustic music|electro-acoustic]] research centre in [[Amsterdam]], where he tailored a live [[Sampling (music)|sampling]] and triggering system to be played with his feet. He unveiled the system in a 25 concert solo tour in 1992. Unfortunately, the unique tailor-made instrument constructed at STEIM was later lost, forgotten on a train while touring Switzerland.

Besides performing, Cora composed music for the [[National Film Board of Canada]], choreographer [[Donna Uchizono]] (for which he received a New York Dance and Performance Award in 1990), and a solo cello film score for [[Dziga Vertov]]'s, ''Man with the Movie Camera'', commissioned by the [[American Museum of the Moving Image]]. In 1994 Cora was awarded a Meet the Composer Commissioning Grant to compose an ensemble score for ''Man with the Movie Camera''. It was performed at several North American venues and in Europe in 1996.

===Technique===

Tom Cora's cello was [[Prepared guitar|prepared]], [[electronically]] modified and highly [[Amplifier|amplified]]. He developed the style of playing sawed chords and percussive riffs as if his cello was an electric guitar. He banged, scraped and twisted it and did whatever else was necessary to produce the sounds he wanted.

Cora explored non-idiomatic improvising and studied Turkish and [[Eastern European]] [[folk music]]. The influence of this folk music is evident in much of his work. Skeleton Crew once devoted an entire concert to playing only Eastern European folk tunes.

On stage, his presence was striking. Ed Baxter noted in his biography of Tom Cora:<ref>{{cite web |url=http://www.l-m-c.org.uk/texts/cora.html |title=Tom Cora biography |work=London Musicians Collective |first=Ed |last=Baxter |access-date=November 22, 2006 |archive-url = https://web.archive.org/web/20050306195352/http://www.l-m-c.org.uk/texts/cora.html |archive-date = March 6, 2005}}</ref>
{{cquote|With his saturnine good looks and gaunt demeanour, he brought a hint of American Gothic to the ever-shifting cartoon soundtrack of the downtown scene. Poised over his instrument and more often than not with all four limbs busy playing something, his was a compelling stage presence.}}

==Discography==
'''Solo'''
* ''Live at the Western Front'' (1987, [[No Man's Land (record label)|No Man's Land]])
* ''Gumption in Limbo'' (1991, Sound Aspects)

'''Curlew'''
* ''Curlew'' (1981, Landslide)
* ''North America'' (1985, [[Moers Music|Moers]])
* ''Live in Berlin'' (1988, [[Cuneiform Records|Cuneiform]])
* ''Bee'' (1991, Cuneiform)
* ''A Beautiful Western Saddle'' (1993, Cuneiform)

'''Skeleton Crew'''
* ''[[Learn to Talk]]'' (1984, Rift)
* ''[[The Country of Blinds]]'' (1986, Rift)
* ''[[Learn to Talk / Country of Blinds]]'' (1990, [[RecRec Music|RecRec]])
* ''[[Etymology (album)|Etymology]]'' (1997, Rarefaction)

'''The Ex'''
* ''[[Scrabbling at the Lock]]'' (1991, RecRec)
* ''[[And the Weathermen Shrug Their Shoulders]]'' (1993, RecRec)

'''Roof'''
* ''The Untraceable Cigar'' (1996, Red Note)
* ''Trace'' (1999, Red Note)

'''Third Person'''
* ''The Bends'' (1991, [[Knitting Factory]])
* ''Lucky Water'' (1995, Knitting Factory)

'''With others'''
* [[Andrea Centazzo]]: ''Environment for Sextet'' (1979, [[Ictus Records|Ictus]])
* [[Eugene Chadbourne]]: ''2000 Statues and the English Channel'' (1979, [[Parachute Records (Eugene Chadbourne)|Parachute]])
* [[John Zorn]]: ''Archery'' (1982, Parachute)
* Tom Cora and [[David Moss (musician)|David Moss]]: ''Cargo Cult Revival'' (1983, Rift)
* [[Ferdinand Richard]]: ''[[En Avant]]'' (1983, RecRec)
* [[Duck and Cover (German band)|Duck and Cover]]: ''[[ReR Quarterly|Re Records Quarterly Vol.1 No.2]]'' (1985, [[Recommended Records|Recommended]])
* Tom Cora and [[Hans Reichel]]: ''Angel Carver: Live in Milwaukee and Chicago'' (1989, [[FMP/Free Music Production|FMP]])
* [[Rene Lussier]]: ''[[Le tresor de la langue]]'' (1989, [[Ambiances Magnétiques]])
* [[Nimal (band)|Nimal]]: ''Voix de Surface'' (1990, RecRec)
* [[The Hat Shoes]]: ''Differently Desperate'' (1991, RecRec)
* [[Tetsuhiro Daiku]]: ''Yunta & Jiraba'' (1993, Disc Akabana)
* [[Richard Teitelbaum]]: ''Cyberband'' (1994, Moers)
* [[Kazutoki Umezu]]: ''First Deserter'' (1995, Off Note)
* [[Fred Frith]]: ''[[Allies (Fred Frith album)|Allies (Music for Dance volume 2)]]'' (1996, RecRec)
* [[Butch Morris]]: ''Testament: A Conduction Collection'' (1996, [[New World Records|New World]])
* Tom Cora and various artists: ''[[Hallelujah, Anyway – Remembering Tom Cora]]'' (1999, [[Tzadik Records|Tzadik]])

==Footnotes==
{{reflist}}

==External links==
*[https://www.myspace.com/tomcora Tom Cora Myspace Memorial].
*[http://nyds-discographies.com/cora.htm Tom Cora discography] – [https://web.archive.org/web/20190619155344/http://nyds-discographies.com/cora.htm archived] June 19, 2019 at the [[Wayback Machine]]
*[http://www.rarefaction.com/crewbios.html Tom Cora biography]. ''Etymology Bio Page''.
*{{webarchive |url=https://web.archive.org/web/20050306195352/http://www.l-m-c.org.uk/texts/cora.html |date=March 6, 2005 |title=Tom Cora biography }}. ''London Musicians Collective''.
*{{YouTube|HjQAzGfJQuM|Tom Cora}}.

{{Skeleton Crew (band)|state=expanded}}

{{Authority control}}

{{DEFAULTSORT:Cora, Tom}}
[[Category:1953 births]]
[[Category:1998 deaths]]
[[Category:American male composers]]
[[Category:American jazz cellists]]
[[Category:American male jazz musicians]]
[[Category:Curlew (band) members]]
[[Category:Free improvisation]]
[[Category:People from Albemarle County, Virginia]]
[[Category:University of Virginia alumni]]
[[Category:Tzadik Records artists]]
[[Category:Skeleton Crew (band) members]]
[[Category:Deaths from melanoma]]
[[Category:20th-century American composers]]
[[Category:Jazz musicians from Virginia]]
[[Category:20th-century American male musicians]]

Jessika Kenney

2021-01-24T17:28:06Z

Invulgo:

{{Infobox musical artist 
| background = solo_singer
| name = Jessika Kenney
| image = JessikaKenneyWiki.jpg
| genre = [[Experimental music|Experimental]]
| occupation = Composer, vocalist, teacher
| website = {{URL|jessikakenney.com}}
}}

'''Jessika Kenney''' is an experimental vocalist, composer, and teacher.<ref>{{cite web | url=http://artisttrust.org/index.php/award-winners/artist-profile/jessika_kenney |title=Award Winners / Artist Profile |publisher=Artist Trust |accessdate=17 February 2015}}</ref><ref>{{cite web | url=http://www.seattle.gov/arts/funding/individual_partners.asp |title=2015 CityArtist Projects |publisher=Seattle Office of Arts & Culture |accessdate=17 February 2015}}</ref> She is known for performance of [[Music of Indonesia|Indonesian]] vocal music (sindhenan),<ref name=":1">{{Cite journal|last=Gimbel|first=Allen|date=2011|title=Scenes from Cavafy; Piano Concerto with Gamelan; A Soedjamako Set|url=http://search.ebscohost.com/login.aspx?direct=true&db=f5h&AN=56949086&site=ehost-live|journal=American Record Guide|volume=74|issue=1|page=136|access-date=17 August 2016 |url-access=subscription |via=EBSCO}}</ref> and [[Persian people|Persian]] vocal music (radifs),<ref>{{Cite news|url=http://www.sufijournal.org/jessika-kenney-singing-from-the-heart/|title=Jessika Kenney: Singing from the Heart|work=Sufi Journal of Mystical Philosophy & Practice|access-date=17 August 2016}}</ref> as well as compositions drawing on elements of both.

Kenney sang the operatic prose for the world premiere of the experimental [[opera]] ''Kali'' in 2000 and performed at the Behnke Center for Contemporary Performance in Seattle.<ref>{{Cite news |title=Mythology Permeates Dance Landscape |last=Berardi |first=Gigi |date=1 September 2000 |work=Dance Magazine}}</ref> After the 2012 performance of ''Weathervane'' at [[Wellesley College]], ''[[The Boston Globe]]'' called Kenney's singing "pure tones that emanate not just from the center of her being but seemingly from far back in time."<ref>{{Cite news|url=https://www.bostonglobe.com/arts/2012/03/05/weathervane-tilts-meld-sound-movement/l295Vtpo71Xt5miZ3yafbM/story.html|title='Weathervane' a Meld of Sound, Movement|last=Singer|first=Thea|date=5 March 2012|work=The Boston Globe|access-date=17 August 2016}}</ref>

In 2015, Kenney created ''Anchor Zero'', a 5-room solo exhibition including calligraphic scores, a bamboo Ka'aba in collaboration with Otong Durahim, and a 3 channel video/12 channel audio installation, at the [[Frye Art Museum]].<ref>{{Cite web|url=http://fryemuseum.org/exhibition/5692/|title=Jessika Kenney: Anchor Zero|date=2015|website=Frye Art Museum|access-date=17 August 2016}}</ref> ''[[The Seattle Times]]'' described her exhibit as being like a "cavern filled with disembodied voices and spooky ambient sounds."<ref>{{Cite news|url=http://www.seattletimes.com/entertainment/lsquoanchor-zerorsquo-turns-the-frye-into-mystic-cavern/|title='Anchor Zero' Turns the Frye Into Mystic Cavern|last=Upchurch|first=Michael|date=16 January 2015|work=The Seattle Times|access-date=17 August 2016}}</ref>

In 2018, the American composer of experimental music [[Alvin Lucier]] invited Kenney to sing the vocals on his reworking of the [[Orpheus and Eurydice]] myth "So You (Hermes/Orpheus/Eurydice)".<ref>https://blacktruffle.bandcamp.com/album/so-you-hermes-orpheus-eurydice</ref>

==Discography==
* ''Atria'' [SIGE Records] (2015)
* ''Harrison: Scenes from Cavafy; Piano Concerto with Gamelan; A Soedjamako Set'' (vocals), [New World] (2011).<ref name=":1" />
* ''Æstuarium'' (with [[Eyvind Kang]]) [Ideologic Organ] (2005)<ref>{{cite web | url=http://pitchfork.com/features/the-out-door/7981-the-out-door-14/2/ | title=Beyond Fahey: How acoustic guitarists are shedding the shadow of John Fahey, plus interviews with Eyvind Kang, Burmese, and Erik Friedlander |last1=Masters |first1=Marc |last2=Currin |first2=Grayson |date=3 June 2011 |website=Pitchfork |accessdate=23 February 2015}}</ref>
* ''The Face of the Earth'' (with [[Eyvind Kang]]) [Ideologic Organ] (2013)<ref>{{cite web |url=http://www.dustedmagazine.com/reviews/7543 |title=Dusted Reviews |last1=Burnett |first1=Joseph |date=23 January 2013 |publisher=Dusted Magazine |accessdate=23 February 2015}}</ref>
* ''At Temple Gate'' (with [[Eyvind Kang]]) [Weyrd Son Records WYS-009] (2014)

===Featured===
* [[Wolves in the Throne Room]] - ''[[Celestial Lineage]]'' (2011).<ref>{{Cite news|url=http://latimesblogs.latimes.com/music_blog/2011/08/in-rotation-wolves-in-the-throne-rooms-celestial-lineage.html|title=In Rotation: Wolves in the Throne Room's 'Celestial Lineage'|date=20 August 2011|work=Los Angeles Times|access-date=17 August 2016}}</ref>
* [[Sunn O)))]] - ''[[Monoliths & Dimensions|Monoliths and Dimensions]]'' (2009).<ref>{{Cite news |title=O'Malley Sidesteps Metal Tag to Focus on Attitude |last=Guthrie |first=Sean |date=2 April 2014 |work=The Herald}}</ref>
* [[Hossein Omoumi]] - "Ava-ye Bahar" (Voices of Spring) Haft Dastgah (2008)
* [[Avey Tare]] - ''[[Eucalyptus (Avey Tare album)|Eucalyptus]]'' (2017).<ref>url=http://animalcollective.dominomart.com/eucalyptus-deluxe-double-lp</ref>

==References==
{{Reflist}}

== External links ==
* [http://jessikakenney.com/ Official site]

{{Authority control}}

{{DEFAULTSORT:Kenney, Jessika}}
[[Category:Experimental composers]]
[[Category:Female composers]]
[[Category:Living people]]
[[Category:Persian-language singers]]
[[Category:Indonesian-language singers]]
[[Category:Year of birth missing (living people)]]
[[Category:20th-century women singers]]
[[Category:20th-century women composers]]

Jessika Kenney

2021-01-24T17:20:59Z

Invulgo: added recent collaboration with Alvin Lucier

{{Infobox musical artist 
| background = solo_singer
| name = Jessika Kenney
| image = JessikaKenneyWiki.jpg
| genre = [[Experimental music|Experimental]]
| occupation = Composer, vocalist, teacher
| website = {{URL|jessikakenney.com}}
}}

'''Jessika Kenney''' is an experimental vocalist, composer, and teacher.<ref>{{cite web | url=http://artisttrust.org/index.php/award-winners/artist-profile/jessika_kenney |title=Award Winners / Artist Profile |publisher=Artist Trust |accessdate=17 February 2015}}</ref><ref>{{cite web | url=http://www.seattle.gov/arts/funding/individual_partners.asp |title=2015 CityArtist Projects |publisher=Seattle Office of Arts & Culture |accessdate=17 February 2015}}</ref> She is known for performance of [[Music of Indonesia|Indonesian]] vocal music (sindhenan),<ref name=":1">{{Cite journal|last=Gimbel|first=Allen|date=2011|title=Scenes from Cavafy; Piano Concerto with Gamelan; A Soedjamako Set|url=http://search.ebscohost.com/login.aspx?direct=true&db=f5h&AN=56949086&site=ehost-live|journal=American Record Guide|volume=74|issue=1|page=136|access-date=17 August 2016 |url-access=subscription |via=EBSCO}}</ref> and [[Persian people|Persian]] vocal music (radifs),<ref>{{Cite news|url=http://www.sufijournal.org/jessika-kenney-singing-from-the-heart/|title=Jessika Kenney: Singing from the Heart|work=Sufi Journal of Mystical Philosophy & Practice|access-date=17 August 2016}}</ref> as well as compositions drawing on elements of both.

Kenney sang the operatic prose for the world premiere of the experimental [[opera]] ''Kali'' in 2000 and performed at the Behnke Center for Contemporary Performance in Seattle.<ref>{{Cite news |title=Mythology Permeates Dance Landscape |last=Berardi |first=Gigi |date=1 September 2000 |work=Dance Magazine}}</ref> After the 2012 performance of ''Weathervane'' at [[Wellesley College]], ''[[The Boston Globe]]'' called Kenney's singing "pure tones that emanate not just from the center of her being but seemingly from far back in time."<ref>{{Cite news|url=https://www.bostonglobe.com/arts/2012/03/05/weathervane-tilts-meld-sound-movement/l295Vtpo71Xt5miZ3yafbM/story.html|title='Weathervane' a Meld of Sound, Movement|last=Singer|first=Thea|date=5 March 2012|work=The Boston Globe|access-date=17 August 2016}}</ref>

In 2015, Kenney created ''Anchor Zero'', a 5-room solo exhibition including calligraphic scores, a bamboo Ka'aba in collaboration with Otong Durahim, and a 3 channel video/12 channel audio installation, at the [[Frye Art Museum]].<ref>{{Cite web|url=http://fryemuseum.org/exhibition/5692/|title=Jessika Kenney: Anchor Zero|date=2015|website=Frye Art Museum|access-date=17 August 2016}}</ref> ''[[The Seattle Times]]'' described her exhibit as being like a "cavern filled with disembodied voices and spooky ambient sounds."<ref>{{Cite news|url=http://www.seattletimes.com/entertainment/lsquoanchor-zerorsquo-turns-the-frye-into-mystic-cavern/|title='Anchor Zero' Turns the Frye Into Mystic Cavern|last=Upchurch|first=Michael|date=16 January 2015|work=The Seattle Times|access-date=17 August 2016}}</ref>

In 2018, the American composer of experimental music [[Alvin Lucier]] invited Kenney to sing the vocals on his reworking of the [[Orpheus and Eurydice]] myth "So You (Hermes/Orpheus/Eurydice)". <ref>https://blacktruffle.bandcamp.com/album/so-you-hermes-orpheus-eurydice</ref>

==Discography==
* ''Atria'' [SIGE Records] (2015)
* ''Harrison: Scenes from Cavafy; Piano Concerto with Gamelan; A Soedjamako Set'' (vocals), [New World] (2011).<ref name=":1" />
* ''Æstuarium'' (with [[Eyvind Kang]]) [Ideologic Organ] (2005)<ref>{{cite web | url=http://pitchfork.com/features/the-out-door/7981-the-out-door-14/2/ | title=Beyond Fahey: How acoustic guitarists are shedding the shadow of John Fahey, plus interviews with Eyvind Kang, Burmese, and Erik Friedlander |last1=Masters |first1=Marc |last2=Currin |first2=Grayson |date=3 June 2011 |website=Pitchfork |accessdate=23 February 2015}}</ref>
* ''The Face of the Earth'' (with [[Eyvind Kang]]) [Ideologic Organ] (2013)<ref>{{cite web |url=http://www.dustedmagazine.com/reviews/7543 |title=Dusted Reviews |last1=Burnett |first1=Joseph |date=23 January 2013 |publisher=Dusted Magazine |accessdate=23 February 2015}}</ref>
* ''At Temple Gate'' (with [[Eyvind Kang]]) [Weyrd Son Records WYS-009] (2014)

===Featured===
* [[Wolves in the Throne Room]] - ''[[Celestial Lineage]]'' (2011).<ref>{{Cite news|url=http://latimesblogs.latimes.com/music_blog/2011/08/in-rotation-wolves-in-the-throne-rooms-celestial-lineage.html|title=In Rotation: Wolves in the Throne Room's 'Celestial Lineage'|date=20 August 2011|work=Los Angeles Times|access-date=17 August 2016}}</ref>
* [[Sunn O)))]] - ''[[Monoliths & Dimensions|Monoliths and Dimensions]]'' (2009).<ref>{{Cite news |title=O'Malley Sidesteps Metal Tag to Focus on Attitude |last=Guthrie |first=Sean |date=2 April 2014 |work=The Herald}}</ref>
* [[Hossein Omoumi]] - "Ava-ye Bahar" (Voices of Spring) Haft Dastgah (2008)
* [[Avey Tare]] - ''[[Eucalyptus (Avey Tare album)|Eucalyptus]]'' (2017).<ref>url=http://animalcollective.dominomart.com/eucalyptus-deluxe-double-lp</ref>

==References==
{{Reflist}}

== External links ==
* [http://jessikakenney.com/ Official site]

{{Authority control}}

{{DEFAULTSORT:Kenney, Jessika}}
[[Category:Experimental composers]]
[[Category:Female composers]]
[[Category:Living people]]
[[Category:Persian-language singers]]
[[Category:Indonesian-language singers]]
[[Category:Year of birth missing (living people)]]
[[Category:20th-century women singers]]
[[Category:20th-century women composers]]

Shadows (1959 film)

2021-01-23T19:17:40Z

Invulgo: /* Plot */

{{Infobox film
| name = Shadows
| image = John Cassavetes' Shadows - Now at Embassy Theater Broadway.jpg
| alt =
| border = yes
| caption = Theatrical release poster
| director = [[John Cassavetes]]
| producer = Maurice McEndree [[Nikos Papatakis]]
| writer = John Cassavetes [[Robert Alan Aurthur]]
| starring = [[Ben Carruthers]] [[Lelia Goldoni]] [[Hugh Hurd]]
| music = [[Charles Mingus]] [[Shafi Hadi]]
| cinematography = Erich Kullmar
| editing = Len Appelson Maurice McEndree Wray Bevins
| distributor = [[British Lion Films|British Lion]]
| released = November 11, 1959
| runtime = 87 minutes
| country = United States
| language = English
| budget =
| gross =
}}
'''''Shadows''''' is a 1959 American [[Independent film|independent]] [[drama film]] directed by [[John Cassavetes]] about race relations during the [[Beat Generation]] years in [[New York City]]. The film stars [[Ben Carruthers]], [[Lelia Goldoni]], and [[Hugh Hurd]] as three [[African-American]] siblings, though only one of them is dark-skinned. The film was initially shot in 1957 and shown in 1958, but a poor reception prompted Cassavetes to rework it in 1959. Promoted as a completely improvisational film, it was intensively rehearsed in 1957, and in 1959 it was fully scripted.

The film depicts two weeks in the lives of three siblings on the margins of society:<ref name=Macadams2012>{{cite book |title=Birth of the Cool |pages=223– |url=https://books.google.com/books?id=iuRjPZLdWGsC&pg=PA223 |first=Lewis |last=Macadams |publisher=Simon and Schuster |year=2012 |isbn=9781471105098}}</ref> two brothers who are struggling jazz musicians and their light-skinned younger sister who goes through three relationships, one with an older white writer, one with a shallow white lover and finally one with a gentle young black admirer.

Film scholars consider ''Shadows'' a milestone of American [[independent film|independent cinema]].<ref name=Maltin1994/> In 1960, the film won the Critics Award at the [[Venice Film Festival]].<ref name=Macadams2012/>

==Plot==
Ben, diffident and awkward, is meant to be a jazz trumpeter but wastes his time drinking in Manhattan bars and trying to pick up girls with two fellow-idlers, Dennis and Tom. He is supported by his brother Hugh, who is supposed to be a jazz singer but is unable to find much work because of his old-fashioned style. Hugh's career is managed by Rupert. Ben and Hugh live with their fair-skinned, younger sister Lelia, who intends to be a writer. Initially, she is under the wing of older, intellectual David, but at a party, she abandons him for the younger Tony, who takes her virginity. Seeing her home, he is shocked to find that her family are black and is kicked out by Hugh, who does not want his sister going with a bigoted white man. Lelia is paired with a pleasant black man, also called David, who is shocked at the independent ways she has acquired. Ben, after getting beaten up for trying to muscle in on some girls in a bar, may have learned a lesson. Hugh, who may at last have made some compromises over his act, gets a booking in Chicago.

==Cast==
* [[Lelia Goldoni]] as Lelia
* [[Hugh Hurd]] as Hugh
* [[Ben Carruthers]] as Ben
* [[Rupert Crosse]] as Rupert
* Anthony Ray as Tony
* Dennis Sallas as Dennis
* Tom Allen as Tom

==Production==
The idea for the film came from a classroom exercise. With acting coach Burt Lane (later the father of [[Diane Lane]]), Cassavetes was conducting classes for aspiring actors at the Variety Arts Theatre in Manhattan's off-Broadway [[Union Square, Manhattan|Union Square]] neighborhood, the classes listed as "The Cassavetes-Lane Drama Workshop"; this was Cassavetes' attempt to counter the adherents of [[method acting]] who controlled much of New York theatre and film.<ref name=Thomson2006>{{cite news |url=https://www.nytimes.com/2006/01/14/books/review/14thom.html?_r=0 |title=Cassavetes: Indie Godfather or Riotous Iconoclast? |last=Thomson |first=David |date=January 14, 2006 |work=The New York Times }}</ref> A particular exercise became the core of the film: A young [[African-American]] woman who was very light-skinned dated a young white man, but he was repulsed when he discovered she had a black brother. Cassavetes determined to put the scene on film, so he began looking for funding. While ostensibly promoting the film ''[[Edge of the City]]'' on [[Jean Shepherd]]'s ''Night People'' radio show on [[WOR (AM)|WOR]] in February 1957, Cassavetes said he could make a better film than could director [[Martin Ritt]]. He pitched the drama workshop idea to Shepherd's radio audience. Cassavetes was surprised when listeners sent about $2,000 to start the project.<ref name=Macadams2012/><ref name=Jarvis2011>{{cite news |url=http://www.popoptiq.com/a-look-back-at-john-cassavetes-shadows-a-pioneering-movie-in-the-history-of-american-independent-cinema/ |title=A Look Back At John Cassavetes 'Shadows' – a pioneering movie in the history of American independent cinema |last=Jarvis |first=Tom |date=November 1, 2011 |work=Popoptiq |access-date=September 3, 2015}}</ref> Money also came from Cassavetes' friends, including [[Hedda Hopper]], [[William Wyler]], [[Joshua Logan]], [[Robert Rossen]], [[José Quintero]], and Cassavetes' agent Charlie Feldman.<ref name=Watson1997>{{cite book |last=Watson |first=Stephanie |editor=Jack Sargeant |chapter=Spontaneous Cinema? In the Shadows with John Cassavetes |title=[[Naked Lens: Beat Cinema]] |publisher=Creation Books |location=London |year=1997 |isbn=1871592291}}</ref> Cassavetes hired German cinematographer Erich Kollmar as cameraman, the only crew member except Cassavetes with any experience in film.<ref>{{cite book |title=John Cassavetes: Lifeworks |last=Charity |first=Tom |last2=Charlesworth |first2=Chris |publisher=Music Sales Group |url=https://books.google.com/books?id=1jUDAwAAQBAJ&pg=PT45 |page=45 |isbn=9780857128416 |year=2012}}</ref>

Using student actors from the Cassavetes-Lane Drama Workshop, shooting started in February 1957 in a largely improvised form. Cassavetes composed an outline for the film, but not a script. Cassavetes and assistant director/producer Maurice McEndree gave detailed instructions to the actors, constraining the situation to guide the story, with the words and the movements improvised by the actors. Cassavetes intended the story to evolve from the characters rather than vice versa. Three initial weeks of work was thrown out, the first week because of technical problems with quality, and the next two weeks because Cassavetes felt that the actors were talking too much. After they had developed their characters to the point at which they could portray emotion in silence, the actors improvised with more clarity and with a level of truth that Cassavetes found revealing. He was a demanding director who required a critical romantic scene to be performed more than 50 times before he was satisfied with the results. About 30 hours of film was exposed during several months of off-and-on shooting.<ref name=ConC>{{cite book |last=Cassavetes |first=John |last2=Carney |first2=Ray |title=Cassevetes on Cassavetes |year=2001 |publisher=Macmillan |isbn=9780571201570 |pages=[https://archive.org/details/cassavetesoncass00cass/page/63 63–68] |url-access=registration |url=https://archive.org/details/cassavetesoncass00cass/page/63 }}</ref>

Filming took place in various locations, including inside the apartment that Cassavetes shared with his wife [[Gena Rowlands]], and on the streets of New York. Using a 16 mm camera borrowed from [[Shirley Clarke]], and monochrome film stock, Kullmar was forced to shoot scenes in which the actors could move in any direction they wished, making for unpredictable zoom and focus requirements. No [[filming permit]]s were obtained, so the cast and crew were necessarily ready to pack quickly and leave a location.<ref name=Rapold2008>{{cite web |url=http://stopsmilingonline.com/story_detail.php?id=994 |title=Out of the ''Shadows'': John Cassavetes. Al Ruban and Seymour Cassel on John Cassavetes |last=Rapold |first=Nicolas |date=March 10, 2008 |work=StopSmiling |access-date=September 4, 2015}} Originally published in Issue 34: Jazz.</ref> The lighting was a general wash rather than specific effects. The microphone was placed by Jay Crecco (who was also an actor in the film), and dialogue was recorded to tape with street noises intruding. Even though Cassavetes said "print it!" after he was satisfied with a scene, there was nobody on the crew keeping track of the film takes, so all of the exposed film had to be printed. The editing of the film was made much more difficult by the lack of notes taken during shooting, and by the sound recorded "wild" on tape, not synchronized with the film. The microphone failed to pick up some of the dialogue, requiring lip-readers to watch the footage and write down what had been said so that the actors could re-record their dialogue.<ref>Charity, Charlesworth 2012, pp. 45–47.</ref> Editors Len Appelson, Maurice McEndree and Wray Bevins began work while shooting was still under way, editing the film in an office next door to the Variety Arts Theatre, the office that is seen hosting a rock 'n roll party in the film. Primary photography was finished by mid-May 1957, with {{convert|60000|ft|abbr=on}} of film exposed, but the editing took more than a year. Cassavetes was not available during much of this time; starting in June, he was on location working as an actor first in ''[[Saddle the Wind]]'', then in ''[[Virgin Island (1958 film)|Virgin Island]]'' (both 1958). At the end of 1957, the editors moved to a professional editing suite to complete the task.<ref>''Cassavetes on Cassavetes'', p. 76.</ref>

Cassavetes intended to have the jazz music of [[Charles Mingus]] on the soundtrack, but Mingus composed a number of songs that could stand on their own rather than impressionistic film music to follow the story. Three hours of Mingus and his band were recorded, and much of this material was placed in the first version of ''Shadows'', screened in 1958, but almost all of it was removed during the 1959 reworking of the film.<ref>{{cite journal |title=Mingus, Cassavetes, and the Birth of a Jazz Cinema |last=Lipman |first=Ross |journal=Journal of Film Music |volume=2 |number=2–4 |year=2009 |doi=10.1558/jfm.v2i2-4.145 |url=http://www.equinoxpub.com/journals/index.php/JFM/article/viewArticle/8158}}</ref> Two of Mingus' compositions for the film were subsequently included on the 1959 album ''[[Jazz Portraits: Mingus in Wonderland]]''.<ref>{{cite web |url=https://isthmus.com/music/vinyl-cave/vinyl-cave-wonderland-by-charles-mingus/ |title=Vinyl Cave: "Wonderland" by Charles Mingus |last=Koch |first=Bob |date=April 18, 2020 |work=Isthmus|access-date=December 28, 2020}}</ref>

==1958 screening==
The film was finished late in 1958, printed onto 16 mm stock, and three free screenings were announced by Shepherd on his radio show. Cassavetes overestimated the audience; only about 100 people showed up for each of the midnight showings at Manhattan's [[The Paris Theater (Manhattan)|Paris Theater]], which could hold almost 600 people. At the first showing, there were initial problems with the sound, which were remedied. Some of the audience members were friends and colleagues of Cassavetes; he later said that 90% of them disliked the film. A number of people walked out before the film ended,<ref name=Eagan2010>{{cite book |url=https://books.google.com/books?id=deq3xI8OmCkC&pg=PA558 |page=558 |title=America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry |last=Eagan |first=Daniel |publisher=A&C Black |year=2010 |isbn=9780826429773}}</ref> including Burt Lane, who had coached most of the cast. Assistant cameraman Al Ruban told Cassavetes that the film was "okay in a kind of naive way." Cassavetes' father told him it was a "pure" film, not a good film. Cassavetes thought it was "totally intellectual" and thus "less than human."<ref>Charity, Charlesworth 2012, pp. 47–48.</ref> The poor reception made him decide that the film should be radically reworked.<ref name = "Guardian">{{cite news |url= http://books.guardian.co.uk/review/story/0,12084,1151818,00.html |title = The Searcher |access-date = 2007-08-24 |last = Carney |first = Ray |author-link = Ray Carney |date=February 2004 |work = [[Guardian Unlimited]]}}</ref>

However, avant-garde film critic [[Jonas Mekas]] highly praised the film, writing in the January 1959 issue of ''[[Film Culture]]'' that ''Shadows'' "presents contemporary reality in a fresh and unconventional manner... The improvisation, spontaneity, and free inspiration that are almost entirely lost in most films from an excess of professionalism are fully used in this film."<ref>Charity, Charlesworth 2012, pp. 49–50.</ref> The magazine, founded by Mekas and his brother, bestowed upon ''Shadows'' its first "Independent Film Award". Mekas then arranged to have the film shown six more times at the [[92nd Street Y|Young Men's Hebrew Association]].

==1959 reworking==
Cassavetes shot new scenes in 1959 using a script that he co-wrote with [[Robert Alan Aurthur]].<ref name=Jarvis2011/> The racial prejudice angle was reduced, and the three main characters were given more complications, as well as more time exploring their connectedness.<ref name=Charity2004/> With financing from [[Nikos Papatakis]] and others, Cassavetes reassembled the required members of the cast and crew. Half to two-thirds of the original footage was replaced, which angered those whose work was diminished.<ref name=Eagan2010/><ref name = "Guardian"/> A 16 mm print was struck, and the new version was shown on November 11, 1959 at [[Amos Vogel]]'s avant-garde [[Cinema 16]], on a double bill with the 30-minute [[Beat Generation|beat poetry]] film ''[[Pull My Daisy]]''.

The first version was an ensemble performance, while the second version put more emphasis on Lelia. The revelation that she was African-American came much earlier in the second version.<ref name=Guerrasio2004>{{cite journal |url=http://www.filmmakermagazine.com/archives/issues/spring2004/reports/shadowing_shadows.php |title=Shadowing ''Shadows'' |first=Jason |last=Guerrasio |journal=Filmmaker |date=Spring 2004}}</ref> The first version had more of a conventional narrative, but its pace was slow in sections. It also contained a number of technical flaws such as [[Lip sync|lip-sync]] errors. Lelia's date with Tony was greatly altered; in the first version, she only talks with him, but in the second version, she loses her virginity to him.<ref name=Rosenbaum2004>{{cite web |url=http://www.jonathanrosenbaum.net/2004/06/the-shadow-of-shadows-first-thoughts-on-the-first-version-tk/ |title=The Shadow of Shadows: First Thoughts on the First Version |date=June 16, 2004 |last=Rosenbaum |first=Jonathan |author-link=Jonathan Rosenbaum |work=Jonathan Rosenbaum |access-date=September 4, 2015}}</ref> The first version had more scenes of Ben and his friends hanging around [[Times Square]]. Actor Anthony Ray, the son of famous director [[Nicholas Ray]], had top billing in the first version, playing the part of Lelia's date Tony, but in the second version, this billing was reduced to reflect his diminished screen time. His character was given greater dignity in the second version.<ref name=Charity2004/>

A major difference between the two was that Mingus' music was featured more in the first version, but the music was incongruously paired with the visuals, according to film critic [[Jonathan Rosenbaum]]. For the second version, Cassavetes replaced almost all of the Mingus recordings. For example, he removed a section in which a muted trumpet replaces the speech of character Tony on the phone, the sound mocking him.<ref name=Rosenbaum2004/> Another removed part involves the Mingus band shouting out a snatch of the gospel song "[[Leaning on the Everlasting Arms]]" during a scene in which Ben and his friends are recovering from a brutal fight. The first version also uses two [[Frank Sinatra]] songs that are not in the second version because Cassavetes could not obtain the rights.<ref name=Charity2004>{{cite web |last=Charity |first=Tom |url=http://old.bfi.org.uk/sightandsound/feature/75 |archive-url=https://web.archive.org/web/20120803084024/http://old.bfi.org.uk/sightandsound/feature/75 |url-status=dead |archive-date=2012-08-03 |title=Open Ear Open Eye |work=Sight & Sound |date=March 2004 |volume=14 |number=3 |pages=26–28 |publisher=BFI |access-date=September 4, 2015}}</ref> Mingus's saxophonist [[Shafi Hadi]], previously known as Curtis Porter, provided most of the second version's soundtrack, expanding on a short passage that Mingus had written.<ref name=Watson1997/> Hadi was directed in his improvisation by Cassavetes, who acted out all the parts for him in the recording studio.<ref name=Rapold2008/>

Another difference between the versions is that Ben's statement "I've learned a lesson" comes at the end of the second version, conveying to the viewer that Ben will improve himself after receiving such a cruel beating. This brings a sense of moral closure to the film. In the first version, the fight and Ben's statement appear halfway through the film, following which he is shown doing the same things again, having failed to learn his lesson. Thus, Ben is portrayed as unlikely ever to change his ways in the first version.<ref name=Rosenbaum2004/>

==Reception==
In his December 1959 manifesto "A Call for a New Generation of Film Makers", Mekas said that ''Shadows'' was the start of a new movement that would inspire independent filmmakers, energize the flagging avant-garde film scene, and triumph over the commercial Hollywood film industry.<ref name=Decherney2006>{{cite book |url=https://books.google.com/books?id=KVL14qF6m_0C&pg=PA177 |page=177 |title=Hollywood and the Culture Elite: How the Movies Became American |last=Decherney |first=Peter |publisher=Columbia University Press |year=2006 |isbn=9780231133777}}</ref> Even so, he was upset that the film had been reworked. In January 1960, he wrote in his movie-review column in ''[[The Village Voice]]'' that the 1959 version was commercialized, "just another Hollywood film", and that everything he had praised in the first version had been "completely destroyed."<ref name=Macadams2012/> Later in his life, he said that the first version should have never been remade, but that the second version was a better indication of the direction in which Cassavetes was going as a filmmaker.

''Shadows'' was given the Critics Award at the [[Venice Film Festival]]. Cassavetes obtained distribution through [[British Lion Films|British Lion]] in 1961.<ref name=Macadams2012/>

==Legacy==
The film was shocking to American audiences in the late 1950s and early 1960s because it turned the "concept of race upside down."<ref name=Macadams2012/> Two of the principal actors portraying African-Americans were not actually black: Goldoni was born in the U.S. to [[Sicily|Sicilian]] parents, fully European in heritage, and Carruthers was only one-sixteenth black.<ref name=Macadams2012/> Carruthers used a sunlamp to darken his skin during the 1957 shooting of the film, but in 1959 for the new scenes, he abandoned this effort.<ref name=Charity2004/> Carruthers and Goldoni were married in 1960, but quickly divorced.<ref name=Macadams2012/>

After ''Shadows'' was honored by the Venice Film Festival, the international publicity helped it become the first American film to see success outside of the Hollywood system. ''Shadows'' joined ''Pull My Daisy'' and [[Shirley Clarke]]'s ''[[The Connection (1961 film)|The Connection]]'' to establish a new wave of American independent films.<ref name=Macadams2012/>

In 1993, ''Shadows'' was selected for preservation in the United States [[National Film Registry]] by the [[Library of Congress]] as being "culturally, historically, or aesthetically significant." <ref>{{Cite web|title=Complete National Film Registry Listing {{!}} Film Registry {{!}} National Film Preservation Board {{!}} Programs at the Library of Congress {{!}} Library of Congress|url=https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/|website=Library of Congress, Washington, D.C. 20540 USA|access-date=2020-05-11}}</ref> <ref>{{Cite web|title=Librarian Announces National Film Registry Selections (March 7, 1994) - Library of Congress Information Bulletin|url=https://www.loc.gov/loc/lcib/94/9405/film.html|website=www.loc.gov|access-date=2020-05-11}}</ref> In 1994, film critic [[Leonard Maltin]] said the film "was considered a watershed in the birth of American independent cinema."<ref name=Maltin1994>{{cite book |title=Leonard Maltin's Movie Encyclopedia |url=https://archive.org/details/leonardmaltin00malt |url-access=registration |year=1994 |last=Maltin |first=Leonard |author-link=Leonard Maltin |publisher=Dutton |page=[https://archive.org/details/leonardmaltin00malt/page/137 137]}}</ref>

===2003 rediscovery===
The second version of the film, greatly reworked in 1959, is the one that Cassavetes considered to be the final product, and he refused to show the 1958 version. In time, he lost track of the first version's only print, and for decades it was believed to have been lost or destroyed. In the 1980s, Cassavetes said that he may have donated the film to a school far away. In fact, the 16 mm print of the first version had been left on a New York City subway train, taken to the subway's lost-and-found department, and then purchased by a second-hand-goods shop owner as part of a box of unclaimed items. The shop owner saw "Shadows" scratched into the [[Film leader|leader]] on the first reel, but he did not recognize the film's name. The shop eventually went out of business, and the owner retired. The reels of film were stored in an attic in Florida, and in November 2003, they were given by the shop owner's daughter to film professor [[Ray Carney]], who had been searching for the first version's print since the 1980s.<ref name = "Guardian"/> A digital copy was shown at the [[International Film Festival Rotterdam]] in late January 2004.<ref name=Guerrasio2004/> Since then, few people have seen this version, as Rowlands and the Cassavetes estate have been involved in a legal dispute regarding Carney's use of the film.<ref name=Thomson2006/><ref name="Rosenbaum2007">{{cite web|last1=Rosenbaum|first1=Jonathan|author-link1=Jonathan Rosenbaum|title=Cassavetes' Prelude and Postscript|url=http://www.jonathanrosenbaum.net/2007/11/cassavetes-prelude-and-postscript/|website=www.jonathanrosenbaum.net|archive-url=https://web.archive.org/web/20170618180550/http://www.jonathanrosenbaum.net/2007/11/cassavetes-prelude-and-postscript/|archive-date=18 June 2017|date=5 November 2007|url-status=dead}}</ref>

==See also==
* [[List of avant-garde films of the 1950s]]
* [[List of cult films: S]]
* [[List of directorial debuts]]
* [[List of drama films of the 1950s]]
* [[List of films set in New York City]]
* [[List of interracial romance films]]
* [[List of racism-related films]]
* [[List of rediscovered films]]
*''[[Too Late Blues]]'', Cassavetes' second film from 1961

==References==
{{reflist}}

==External links==
{{commons category|Shadows (1959 film)}}
*''Shadows'' essay [https://www.loc.gov/static/programs/national-film-preservation-board/documents/shadows.pdf] by [[Ray Carney]] at [[National Film Registry]]
*{{IMDb title|0053270}}
* {{Rotten Tomatoes|1066229-shadows}}
*[https://www.criterion.com/current/posts/339-shadows-eternal-times-square ''Shadows: Eternal Times Square''] an essay by [[Gary Giddins]] at the [[Criterion Collection]]
* [http://www.nickschager.com/nsfp/2004/03/shadows_1959_b.html Nick Schager review of ''Shadows'']
* [https://movies.nytimes.com/movie/review?res=9C0CE0DD133DE733A25751C2A9659C946091D6CF 1961 ''New York Times'' review]
* ''Shadows'' essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 {{ISBN|0826429777}}, pages 556-558 [https://www.google.com/books/edition/America_s_Film_Legacy/deq3xI8OmCkC?hl=en&sa=X&ved=2ahUKEwizyMChr__qAhVroXIEHQcNAtgQiKUDMBZ6BAgTEAQ]

{{John Cassavetes}}

{{DEFAULTSORT:Shadows (1959 Film)}}
[[Category:1958 films]]
[[Category:1958 drama films]]
[[Category:American films]]
[[Category:American black-and-white films]]
[[Category:American independent films]]
[[Category:English-language films]]
[[Category:Films about race and ethnicity]]
[[Category:Films directed by John Cassavetes]]
[[Category:Films about interracial romance]]
[[Category:United States National Film Registry films]]
[[Category:Jazz films]]
[[Category:American avant-garde and experimental films]]
[[Category:1950s rediscovered films]]
[[Category:Films set in New York City]]
[[Category:1950s avant-garde and experimental films]]
[[Category:1958 directorial debut films]]
[[Category:1950s independent films]]
[[Category:Rediscovered American films]]

Voices (Henze)

2021-01-20T09:57:29Z

Invulgo: Repaired ref from previous editor

{{Italic title}}
'''''Voices''''' is a [[musical composition]] by the German [[composer]] [[Hans Werner Henze]].

Written between January and June 1973, it is a collection of 22 independent [[song]]s which may be performed individually, with alterations to the instrumentation. In its full version, it is written for [[mezzo-soprano]], [[tenor]], electronics and fifteen instrumentalists who are required to play about 70 different instruments from all over the world. The piece consists of two parts (11 + 11 songs) and lasts 90 minutes. The polystylistic conception of "Voices" results from the different origin and message of the poems. <ref>blocknote</ref>

The songs set a diverse range of words, almost all of which are from the twentieth century, the linking theme being alienation and oppression.<ref>Liner notes to the 1978 recording, Decca Records</ref> Henze has said: <blockquote>The voices of the title are those of young and old artists whose work is politically committed. These people are concerned with their fellow human beings, with the contemporary human condition within the world around them and with all the problems of race and class in which they themselves often seem fated to be embroiled.<ref>Henze, Hans Werner (1998) ''Bohemian Fifths'' (trans. S. Spencer), Faber, p. 311</ref></blockquote> : „'Stimmen' für Hans Werner Henze. Die 22 Lieder aus 'Voices'“. Editor [[Peter Petersen (musicologist)|Peter Petersen]], [[Hanns-Werner Heister]] and Hartmut Lück, Mainz, Schott 1996.

It was premiered on 4 January 1974 at the [[Queen Elizabeth Hall]], London with soloists Paul Sperry and [[Rose Taylor]], and the [[London Sinfonietta]] conducted by Henze. In 1978 it was recorded the same forces, except [[Sarah Walker (opera singer)|Sarah Walker]] who took the mezzo role.<ref>Henze, Hans Werner (1998) ''Bohemian Fifths'' (trans. S. Spencer), Faber, p. 329</ref>

==Songs==
#'Los poetas cubanos ya no sueñan' ('Cuban Poets Do Not Sleep Anymore') ([[Heberto Padilla]])
#'Prison Song' ([[Ho Chi Minh]])
#'Keiner oder alle' ('All or None') ([[Bertolt Brecht]])
#'The electric cop' ([[Victor Hernandez Cruz]])
#'The distant drum' ([[Calvin C. Hernton]])
#'42 Schulkinder' (Schoolchildren) ([[Erich Fried]])
#'Caino' ([[Gino de Sanctis]])
#'Il Pasi' ([[Mario Tobino]])
#'Heimkehr' ('Homecoming') ([[Heinrich Heine]])
#'Grecia 1970' ('Greece 1970') ([[Giuseppe Ungaretti]])
#'Legende von der Enstehung des Buches Taoteking auf dem Weg des Laotse in die Emigration' ('Legend of the Origin of the Book [[Tao Te Ching]] on [[Lao Tzu]]'s Way into Exile') (Brecht)
#'Gedanken eines Revuemädchens während des Entkleidungsaktes' ('Thoughts of a Showgirl as She Strips') (Brecht)
#'Das wirkliche Messer' ('The Real Knife') ([[Hans Magnus Enzensberger]])
#'Recht und Billig' ('A Fair Deal') (Fried)
#'Patria' ([[Miguel Barnet]])
#'Screams - Interlude' ([[Walton Smith]])
#'The worker' ([[Richard W. Thomas]])
#'Para aconsejar a una dama' ('Advice to a Lady') (Padilla)
#'Roses and revolutions' ([[Dudley Randall]])
#'Vermutung über Hessen' ('Conjecture about [[Hessen]]') ([[F.C. Delius]])
#'Schluss' ('An End') ([[Michalis Katsaros]])
#'Das Blumenfest' ('Carnival of Flowers') (Enzensberger)

==References==
{{Reflist}}

{{Hans Werner Henze|state=collapsed}}

[[Category:1973 compositions]]
[[Category:Compositions by Hans Werner Henze]]

Josep Mestres Quadreny

2021-01-19T08:28:21Z

Invulgo: Removed living persons category; added Deaths in 2022 category

{{family name hatnote|Mestres|Quadreny|lang=Spanish}}
[[File:Josep Maria Mestres Quadreny amb Bartomeu Marí al MACBA.jpg|thumb|right|Josep Maria Mestre Quadreny with [[Bartomeu Marí]] at [[MACBA]].]]
'''Josep Maria Mestres Quadreny''' (4 March 1929 - 18 January 2021 in [[Manresa]]) was a [[Catalans|Catalan]] composer.<ref>https://elpais.com/espana/catalunya/2021-01-18/fallece-a-los-91-anos-el-compositor-josep-maria-mestres-quadreny.html</ref>

He studied sciences at the [[University of Barcelona]], taking lessons in [[musical composition|composition]] from [[Cristòfor Taltabull]]. In 1968 he started the Catalan Group of Contemporary Music (Conjunt Català de Música Contemporània), and in 1976 the Catalan Instrumental Group (Grup Instrumental Català) with Carles Santos. He also founded the Phonos Laboratory of Electroacoustic Music in 1973.

His output included incidental music for theatre and cinema, musicals, ballet, opera and instrumental music. He also collaborated with visual artists, including [[Joan Miró]], [[Antoni Tàpies]] and [[Joan Brossa]].

In addition to his compositional activities, he taught at the [[Darmstadt]] New Music Courses and the Latin American Course of Contemporary Music in [[Brazil]].

He was chairman of the [[Joan Brossa Foundation]] and an emeritus member of the board of trustees of the [[Joan Miró Foundation]].

==Selected filmography==
* ''[[Nocturne 29]]'' (1968)

==References==
*{{IMDb name|0702736}}
*Marco, Tomás (1993): ''Spanish music in the twentieth century'' p 174, Harvard University Press {{ISBN|978-0-674-83102-5}}

==External links==
* [http://www.accompositors.com/compositores-curriculum.php?idComp=90 Information about Mestres Quadreny and the association of Catalan Composers, accessed 8 February 2010] (Spanish)
* [http://www.lamadeguido.com/mestres.html Lamadeguido biography and works]
* {{Discogs artist|Josep Maria Mestres Quadreny}}
* {{imdb name|id=0702736}}

{{Authority control}}

{{DEFAULTSORT:Mestres Quadreny, Josep}}
[[Category:1929 births]]
[[Category:20th-century classical composers]]
[[Category:Catalan composers]]
[[Category:People from Manresa]]
[[Category:Spanish classical composers]]
[[Category:Spanish male classical composers]]
[[Category:University of Barcelona alumni]]
[[Category:20th-century Spanish musicians]]
[[Category:20th-century male musicians]]
[[Category:2021 deaths]]

{{Spain-composer-stub}}

Josep Mestres Quadreny

2021-01-19T08:18:22Z

Invulgo: Added death information

{{family name hatnote|Mestres|Quadreny|lang=Spanish}}
[[File:Josep Maria Mestres Quadreny amb Bartomeu Marí al MACBA.jpg|thumb|right|Josep Maria Mestre Quadreny with [[Bartomeu Marí]] at [[MACBA]].]]
'''Josep Maria Mestres Quadreny''' (4 March 1929 - 18 January 2021 in [[Manresa]]) was a [[Catalans|Catalan]] composer.<ref>https://elpais.com/espana/catalunya/2021-01-18/fallece-a-los-91-anos-el-compositor-josep-maria-mestres-quadreny.html</ref>

He studied sciences at the [[University of Barcelona]], taking lessons in [[musical composition|composition]] from [[Cristòfor Taltabull]]. In 1968 he started the Catalan Group of Contemporary Music (Conjunt Català de Música Contemporània), and in 1976 the Catalan Instrumental Group (Grup Instrumental Català) with Carles Santos. He also founded the Phonos Laboratory of Electroacoustic Music in 1973.

His output included incidental music for theatre and cinema, musicals, ballet, opera and instrumental music. He also collaborated with visual artists, including [[Joan Miró]], [[Antoni Tàpies]] and [[Joan Brossa]].

In addition to his compositional activities, he taught at the [[Darmstadt]] New Music Courses and the Latin American Course of Contemporary Music in [[Brazil]].

He was chairman of the [[Joan Brossa Foundation]] and an emeritus member of the board of trustees of the [[Joan Miró Foundation]].

==Selected filmography==
* ''[[Nocturne 29]]'' (1968)

==References==
*{{IMDb name|0702736}}
*Marco, Tomás (1993): ''Spanish music in the twentieth century'' p 174, Harvard University Press {{ISBN|978-0-674-83102-5}}

==External links==
* [http://www.accompositors.com/compositores-curriculum.php?idComp=90 Information about Mestres Quadreny and the association of Catalan Composers, accessed 8 February 2010] (Spanish)
* [http://www.lamadeguido.com/mestres.html Lamadeguido biography and works]
* {{Discogs artist|Josep Maria Mestres Quadreny}}
* {{imdb name|id=0702736}}

{{Authority control}}

{{DEFAULTSORT:Mestres Quadreny, Josep}}
[[Category:1929 births]]
[[Category:20th-century classical composers]]
[[Category:Catalan composers]]
[[Category:Living people]]
[[Category:People from Manresa]]
[[Category:Spanish classical composers]]
[[Category:Spanish male classical composers]]
[[Category:University of Barcelona alumni]]
[[Category:20th-century Spanish musicians]]
[[Category:20th-century male musicians]]

{{Spain-composer-stub}}

10x10 (film)

2021-01-12T15:12:25Z

Invulgo: /* Plot */

{{Infobox film
| name = 10x10
| image = 10x10 poster.jpg
| alt =
| caption =
| director = Suzi Ewing
| producer = [[Noel Clarke]] Jason Maza Maggie Monteith
| writer = Noel Clarke
| starring = [[Kelly Reilly]] [[Luke Evans (actor)|Luke Evans]] Olivia Chenery 
| music = Christopher Holmes
| cinematography = Aaron Reid
| editing = Ian Davies
| studio = {{ubl|Unstoppable Entertainment|Head Gear Films|Metrol Technology|Broadlane Films|Dignity Film Finance}}
| distributor = [[Vertical Entertainment]]
| released = {{Film date|df=y|2018|4|13|United States}} 
| runtime = 88 minutes
| country = United Kingdom United States
| language = English
| budget =
| gross =
}}
'''''10x10''''' is a 2018 [[British-American]] [[thriller film]] directed by Suzi Ewing and starring [[Luke Evans]] and [[Kelly Reilly]].<ref>http://film.britishcouncil.org/10x10</ref><ref>https://movieweb.com/10x10-movie-trailer-luke-evans-kelly-reilly/</ref><ref>https://wftv.org.uk/10x10-director-suzi-ewing-on-unlikable-female-leads/</ref> It was written and produced by [[Noel Clarke]], through his production company Unstoppable Entertainment.

== Plot ==
The movie starts with Lewis (Luke Evans) watching Cathy (Kelly Reilly) take a seat in a restaurant to eat lunch. He gets up and casually walks by her to wait outside at the car park for her.

She exits soon after and goes to her yoga lessons. He parks his car next to her car and kidnaps her when she comes out. He drives to a remote house and leaves her in a small (10 by 10) room, which appears to be a cellar.

He emphasizes to her that the house is isolated and the cellar is soundproof; there is no way to escape. He tells her that if he wanted to kill her, he already could have.

Cathy gets her bound hands in front of her and attacks him when he comes to get her for lunch. She tries to call the police on the land line but he shoots the phone and so she desperately tries to get free. Unsuccessful, she sits down to eat with him. He asks her name, but attacks her when she answers; they fight and he overpowers her, returning her to the cellar.

As he exits the cellar his maid, Alondra, enters the house to be astonished at a disheveled and bleeding Lewis; he had forgotten to tell her to take a day off, but sends her away now.

Cathy lies in the cellar, bleeding and in pain. He returns and questions her. She tells him she already answered him, but he keeps asking for details of her past life, insisting that she is lying. He continues to press her, and she changes her story. She said she studied English and owns a flower shop, but now admits having studied medicine.

Flashback to a public trial where several people have died. It transpires that "Cathy" is actually Nathalie, twin sister to Cathy, who killed herself after their father cheated on their mother with a cheerleader for the football team he worked for.

Lewis watches a movie where he cradles a baby. In the meantime Cathy tries to call the police on a mobile phone she had hidden. He rushes in to ask her about the Charleston deaths, one of whom was his wife, Alana Matthews Lewis. He accuses her of murder since his wife's blood was full of the rape drug [[Gamma-Hydroxybutyric_acid#Usage_as_a_date_rape_drug|GHB]]. She apologizes for Alana's death, and he simply states that he knows that she killed his wife.

He continues to watch films of his little happy family, with his wife Alana and his daughter Summer.

He returns to the cellar to threaten her with his gun. She talks about her childhood; how, after their father had left, they were treated like outcasts and that her sister committed suicide as a result.

Nathalie tells him that she killed these people out of vengeance for what her father had done, but he refuses to believe his wife had cheated on him. He looks for evidence for his wife's cheating on videos and sees one part in particular where her phone rings, she looks at it impassively and ends the call.

Emotionally overwhelmed, Lewis drives away. He has a brief encounter with police while stopped at a lake, but he is able to quell any suspicions. In the meantime Nathalie tries to remove a broken shard of floor tile to cut open her restraints.

He returns to his house, tells her she had no right to kill his wife before he could talk to her, and demands she go to the police and confess. She says she is now Cathy and won't let him ruin her now-happy life, then attacks him with the floor shard.

He bleeds strongly and tries to lock her into the cellar again but she flees upstairs. Alondra, the maid, comes home with Lewis' daughter. Nathalie shoots Alondra and takes Summer as hostage. She tells him this can only end with his and his Summer's death, and says Summer is not his biological daughter, since his wife cheated on him.

Summer bites Nathalie and escapes to the cellar, where Lewis finds her.

Summer says Cathy is gone, and they prepare to leave the house. He takes the recordings from the computer of Cathy's confessions, and runs to the garage where she corners him. She tries to stab him with a pitchfork, but he drives it upwards to take her off balance and knocks her unconscious. Soon after the police arrive and the nightmare is over.

Lewis hugs Summer and tells her that she ''is'' his baby girl, his daughter.

==Cast==
* [[Luke Evans]] as Lewis
* [[Kelly Reilly]] as Cathy
* [[Noel Clarke]] as Dennis
* Olivia Chenery as Alana
* Skye Lucia Degruttola as Summer
* [[Jill Winternitz]] as Jen
* [[Jason Maza]] as Officer Wayland

==Production==
The film was shot at West London Film Studios, London, and in Atlanta, Georgia.

== Reception ==
On [[Rotten Tomatoes]], the film has a 'Fresh' approval rating of 67% based on reviews from 9 critics, with an average rating of 5.05/10.<ref>{{cite web |title=10x10 (2018) |url=https://www.rottentomatoes.com/m/10x10 |accessdate=21 April 2020 |language=en}}</ref> Noel Murray of the ''[[Los Angeles Times]]'' praised the performances and twists, but questioned some storytelling choices.<ref>https://www.latimes.com/entertainment/movies/la-et-mn-capsule-10x10-review-20180412-story.html</ref>

== References ==
{{reflist}}

==External links==
* {{IMDb title|6210996|10x10}}
* {{AllMovie title|701153}}
* {{rotten-tomatoes|10x10|10x10}}

{{Noel Clarke}}

[[Category:2018 films]]
[[Category:2018 thriller films]]
[[Category:American films]]
[[Category:American thriller films]]
[[Category:English-language films]]
[[Category:Films shot in Atlanta]]
[[Category:Films shot in London]]
[[Category:Films with screenplays by Noel Clarke]]

{{2010s-thriller-film-stub}}

The Tenderness of Wolves (film)

2021-01-10T12:56:51Z

Invulgo: /* Release */ Various Release information of the film as requested

{{missing information|the film's production, and home media releases|date=May 2019}}
{{Infobox film
| name = The Tenderness of Wolves
| image = Die Zärtlichkeit der Wölfe.jpg
| alt =
| caption = German theatrical release poster
| native_name = Die Zärtlichkeit der Wölfe
| director = [[Ulli Lommel]]
| producer = [[Rainer Werner Fassbinder]]<ref name="filmportal" />
| screenplay = [[Kurt Raab]]<ref name="filmportal" />
| based_on = 
| starring = {{plainlist|
*Kurt Raab
*Jeff Roden
*[[Margit Carstensen]]
*Hannelore Tiefenbrunner
}}
| music = [[Peer Raben]]
| cinematography = Jürgen Jürges<ref name="filmportal" />
| editing = {{plainlist|
*Thea Eymèsz
*Rainer Werner Fassbinder<ref name="filmportal" />}}
|production_companies = Tango-Film<ref name="filmportal" />
| distributor = Cinegate (1976, UK)
| released = {{film date|1973|6|29}}
| runtime = 82 minutes<ref name="filmportal" />
| country = West Germany<ref name="filmportal" />
| language = German
| budget =
| gross = 
}}
'''''The Tenderness of Wolves''''', ({{lang-de|'''Die Zärtlichkeit der Wölfe'''}}) is a 1973 [[Cinema of Germany|West German]] [[drama film]] directed by [[Ulli Lommel]]. The story is based on the crimes of [[German people|German]] [[serial killer]] and [[cannibalism|cannibal]] [[Fritz Haarmann]]. It was written by [[Kurt Raab]], who also stars in the film, and produced by [[Rainer Werner Fassbinder]]. It was entered into the [[23rd Berlin International Film Festival]].

==Plot==
{{more plot|date=May 2019}}
Fritz Haarmann is a [[serial killer]] who uses his position as a government inspector to [[rape]] and murder young boys in war-torn Germany. After killing his victims, he sells the meat to local restaurants and also consumes it with his circle of unknowing friends.<ref>https://www.rogerebert.com/reviews/tenderness-of-the-wolves-1976</ref>

==Cast==
* [[Kurt Raab]] – Insp. Fritz Haarmann
* [[Jeff Roden]] – Hans Grans
* [[Margit Carstensen]] – Frau Lindner
* [[Ingrid Caven]] – Dora
* [[Wolfgang Schenck (actor)|Wolfgang Schenck]] – Kommissar Braun
* [[Brigitte Mira]] – Louise Engel
* [[Rainer Hauer]] – Kommissar Müller
* [[Barbara Bertram]] – Elli
* [[Rainer Werner Fassbinder]] – Wittowski
* [[Heinrich Giskes]] – Lungis
* [[Friedrich Karl Praetorius]] – Kurt Fromm
* [[Karl von Liebezeit]] – Herr Engel
* [[Walter Kaltheuner]] – Schuhmacher
* [[El Hedi ben Salem]] – Französischer Soldat
* [[Rainer Will]] – Opfer (as Reiner Will)

==Release==
{{expand section|date=May 2019}}
''The Tenderness of Wolves'' was released on June 29, 1973.<ref name="filmportal" /> The film was released in the UK in May 1976<ref>https://www.imdb.com/title/tt0070957/releaseinfo?ref_=tt_ql_dt_2</ref> The 2015 Blu-ray release in the USA and the UK by Arrow Video offered a new high definition digital transfer of the film as well as an introduction and audio commentary by [[Ulli Lommel]].<ref>https://arrowfilms.com/product-detail/tenderness-of-the-wolves-dual-format/FCD1170</ref>

==Reception==
{{expand section|date=May 2019}}
[[Roger Ebert]] rated the film 2.5 out of 4 stars, calling it " a nasty little melodrama, lurid and creepy and sometimes bordering on demented humor. It's the kind of movie we may not exactly enjoy, but we don't walk out on."<ref name="ebert76" />

[[Vincent Canby]] of ''[[The New York Times]]'' gave the film a positive review, commending the film's performances, cinematography, and direction.<ref name="canby77" /> Dennis Schwartz from ''Ozus' World Movie Reviews'' awarded the film a grade A, calling it "A wickedly entertaining but harrowing tale"; praising the film's [[expressionistic]] style, direction, and Raab's performance.<ref name="schwartz06" /> Chris Coffel from [[Bloody Disgusting]] praised the film for its historical accuracy, and unconventional narrative, stating that it was arguably Lommel's best film.<ref name="bloodydisgusting" /> Clayton Dillard of ''[[Slant Magazine]]'' awarded the film 4.5 out of 5 stars, writing "If ''Tenderness of the Wolves'' works on a reflexive register, it’s due to Raab’s performance, which consistently displays his own homosexuality in a fashion that blurs lines between fiction and documentary, albeit a bit coarsely, since Lommel often trains his camera on Haarmann’s sexual encounters to milk their exploitative potential."<ref name="slantmagazine" />

==References==
{{reflist|refs=
<ref name="bloodydisgusting">{{cite web |last1=Coffel |first1=Chris |title=[Blu-ray Review] 'Tenderness of the Wolves' |url=https://bloody-disgusting.com/reviews/3370125/blu-ray-review-tenderness-wolves-chilling-look-life-serial-killer/ |website=Bloody Disgusting.com |publisher=Chris Coffel |accessdate=16 May 2019}}</ref>
<ref name="canby77">{{cite web |last1=Canby |first1=Vincent |title=Screen: Vampire In Fassbinderland - The New York Times |url=https://www.nytimes.com/1977/05/20/archives/screen-vampire-in-fassbinderland.html |website=NYTimes.com |publisher=Vincent Canby |accessdate=16 May 2019}}</ref>
<ref name="ebert76">{{cite web |last1=Ebert |first1=Roger |title=Tenderness of the Wolves Movie Review (1976) |url=https://www.rogerebert.com/reviews/tenderness-of-the-wolves-1976 |website=RogerEbert.com |publisher=Roger Ebert |accessdate=16 May 2019}}</ref>
<ref name="filmportal">{{cite web|url=http://www.filmportal.de/en/movie/die-zaertlichkeit-der-woelfe_ea43d4a6dc795006e03053d50b37753d|publisher=[[Filmportal.de]]|title=Die Zärtlichkeit der Wölfe|accessdate=November 24, 2015}}</ref>
<ref name="schwartz06">{{cite web |last1=Schwartz |first1=Dennis |title=tendernessofthewolves |url=http://homepages.sover.net/~ozus/tendernessofthewolves.htm |website=Sover.net |publisher=Dennis Schwartz |accessdate=16 May 2019}}</ref>
<ref name="slantmagazine">{{cite web |last1=Dillard |first1=Clayton |title=Blu-ray Review: Tenderness of the Wolves - Slant Magazine |url=https://www.slantmagazine.com/dvd/tenderness-of-the-wolves/ |website=Slant Magazine.com |publisher=Clayton Dillard |accessdate=16 May 2019}}</ref>
}}

==External links==
* {{Allmovie|155594|The Tenderness of Wolves}}
* {{IMDb title|0070957|The Tenderness of Wolves}}
* {{Rotten tomatoes|tenderness_of_the_wolves|The Tenderness of Wolves}}

{{Ulli Lommel}}

{{DEFAULTSORT:Tenderness Of Wolves, The}}
[[Category:1973 films]]
[[Category:1970s biographical films]]
[[Category:1973 LGBT-related films]]
[[Category:1970s serial killer films]]
[[Category:Biographical films about serial killers]]
[[Category:Films about cannibalism]]
[[Category:Films directed by Ulli Lommel]]
[[Category:German drama films]]
[[Category:German-language films]]
[[Category:German LGBT-related films]]
[[Category:West German films]]
[[Category:Films about rape]]
[[Category:Cultural depictions of Fritz Haarmann]]
[[Category:Films set in Germany]]
[[Category:1973 drama films]]

{{1970s-Germany-film-stub}}
{{1970s-drama-film-stub}}

The Tenderness of Wolves (film)

2021-01-09T14:59:30Z

Invulgo: /* Plot */ clarity

{{missing information|the film's production, and home media releases|date=May 2019}}
{{Infobox film
| name = The Tenderness of Wolves
| image = Die Zärtlichkeit der Wölfe.jpg
| alt =
| caption = German theatrical release poster
| native_name = Die Zärtlichkeit der Wölfe
| director = [[Ulli Lommel]]
| producer = [[Rainer Werner Fassbinder]]<ref name="filmportal" />
| screenplay = [[Kurt Raab]]<ref name="filmportal" />
| based_on = 
| starring = {{plainlist|
*Kurt Raab
*Jeff Roden
*[[Margit Carstensen]]
*Hannelore Tiefenbrunner
}}
| music = [[Peer Raben]]
| cinematography = Jürgen Jürges<ref name="filmportal" />
| editing = {{plainlist|
*Thea Eymèsz
*Rainer Werner Fassbinder<ref name="filmportal" />}}
|production_companies = Tango-Film<ref name="filmportal" />
| distributor = Cinegate (1976, UK)
| released = {{film date|1973|6|29}}
| runtime = 82 minutes<ref name="filmportal" />
| country = West Germany<ref name="filmportal" />
| language = German
| budget =
| gross = 
}}
'''''The Tenderness of Wolves''''', ({{lang-de|'''Die Zärtlichkeit der Wölfe'''}}) is a 1973 [[Cinema of Germany|West German]] [[drama film]] directed by [[Ulli Lommel]]. The story is based on the crimes of [[German people|German]] [[serial killer]] and [[cannibalism|cannibal]] [[Fritz Haarmann]]. It was written by [[Kurt Raab]], who also stars in the film, and produced by [[Rainer Werner Fassbinder]]. It was entered into the [[23rd Berlin International Film Festival]].

==Plot==
{{more plot|date=May 2019}}
Fritz Haarmann is a [[serial killer]] who uses his position as a government inspector to [[rape]] and murder young boys in war-torn Germany. After killing his victims, he sells the meat to local restaurants and also consumes it with his circle of unknowing friends.<ref>https://www.rogerebert.com/reviews/tenderness-of-the-wolves-1976</ref>

==Cast==
* [[Kurt Raab]] – Insp. Fritz Haarmann
* [[Jeff Roden]] – Hans Grans
* [[Margit Carstensen]] – Frau Lindner
* [[Ingrid Caven]] – Dora
* [[Wolfgang Schenck (actor)|Wolfgang Schenck]] – Kommissar Braun
* [[Brigitte Mira]] – Louise Engel
* [[Rainer Hauer]] – Kommissar Müller
* [[Barbara Bertram]] – Elli
* [[Rainer Werner Fassbinder]] – Wittowski
* [[Heinrich Giskes]] – Lungis
* [[Friedrich Karl Praetorius]] – Kurt Fromm
* [[Karl von Liebezeit]] – Herr Engel
* [[Walter Kaltheuner]] – Schuhmacher
* [[El Hedi ben Salem]] – Französischer Soldat
* [[Rainer Will]] – Opfer (as Reiner Will)

==Release==
{{expand section|date=May 2019}}
''The Tenderness of Wolves'' was released on June 29, 1973.<ref name="filmportal" />

==Reception==
{{expand section|date=May 2019}}
[[Roger Ebert]] rated the film 2.5 out of 4 stars, calling it " a nasty little melodrama, lurid and creepy and sometimes bordering on demented humor. It's the kind of movie we may not exactly enjoy, but we don't walk out on."<ref name="ebert76" />

[[Vincent Canby]] of ''[[The New York Times]]'' gave the film a positive review, commending the film's performances, cinematography, and direction.<ref name="canby77" /> Dennis Schwartz from ''Ozus' World Movie Reviews'' awarded the film a grade A, calling it "A wickedly entertaining but harrowing tale"; praising the film's [[expressionistic]] style, direction, and Raab's performance.<ref name="schwartz06" /> Chris Coffel from [[Bloody Disgusting]] praised the film for its historical accuracy, and unconventional narrative, stating that it was arguably Lommel's best film.<ref name="bloodydisgusting" /> Clayton Dillard of ''[[Slant Magazine]]'' awarded the film 4.5 out of 5 stars, writing "If ''Tenderness of the Wolves'' works on a reflexive register, it’s due to Raab’s performance, which consistently displays his own homosexuality in a fashion that blurs lines between fiction and documentary, albeit a bit coarsely, since Lommel often trains his camera on Haarmann’s sexual encounters to milk their exploitative potential."<ref name="slantmagazine" />

==References==
{{reflist|refs=
<ref name="bloodydisgusting">{{cite web |last1=Coffel |first1=Chris |title=[Blu-ray Review] 'Tenderness of the Wolves' |url=https://bloody-disgusting.com/reviews/3370125/blu-ray-review-tenderness-wolves-chilling-look-life-serial-killer/ |website=Bloody Disgusting.com |publisher=Chris Coffel |accessdate=16 May 2019}}</ref>
<ref name="canby77">{{cite web |last1=Canby |first1=Vincent |title=Screen: Vampire In Fassbinderland - The New York Times |url=https://www.nytimes.com/1977/05/20/archives/screen-vampire-in-fassbinderland.html |website=NYTimes.com |publisher=Vincent Canby |accessdate=16 May 2019}}</ref>
<ref name="ebert76">{{cite web |last1=Ebert |first1=Roger |title=Tenderness of the Wolves Movie Review (1976) |url=https://www.rogerebert.com/reviews/tenderness-of-the-wolves-1976 |website=RogerEbert.com |publisher=Roger Ebert |accessdate=16 May 2019}}</ref>
<ref name="filmportal">{{cite web|url=http://www.filmportal.de/en/movie/die-zaertlichkeit-der-woelfe_ea43d4a6dc795006e03053d50b37753d|publisher=[[Filmportal.de]]|title=Die Zärtlichkeit der Wölfe|accessdate=November 24, 2015}}</ref>
<ref name="schwartz06">{{cite web |last1=Schwartz |first1=Dennis |title=tendernessofthewolves |url=http://homepages.sover.net/~ozus/tendernessofthewolves.htm |website=Sover.net |publisher=Dennis Schwartz |accessdate=16 May 2019}}</ref>
<ref name="slantmagazine">{{cite web |last1=Dillard |first1=Clayton |title=Blu-ray Review: Tenderness of the Wolves - Slant Magazine |url=https://www.slantmagazine.com/dvd/tenderness-of-the-wolves/ |website=Slant Magazine.com |publisher=Clayton Dillard |accessdate=16 May 2019}}</ref>
}}

==External links==
* {{Allmovie|155594|The Tenderness of Wolves}}
* {{IMDb title|0070957|The Tenderness of Wolves}}
* {{Rotten tomatoes|tenderness_of_the_wolves|The Tenderness of Wolves}}

{{Ulli Lommel}}

{{DEFAULTSORT:Tenderness Of Wolves, The}}
[[Category:1973 films]]
[[Category:1970s biographical films]]
[[Category:1973 LGBT-related films]]
[[Category:1970s serial killer films]]
[[Category:Biographical films about serial killers]]
[[Category:Films about cannibalism]]
[[Category:Films directed by Ulli Lommel]]
[[Category:German drama films]]
[[Category:German-language films]]
[[Category:German LGBT-related films]]
[[Category:West German films]]
[[Category:Films about rape]]
[[Category:Cultural depictions of Fritz Haarmann]]
[[Category:Films set in Germany]]
[[Category:1973 drama films]]

{{1970s-Germany-film-stub}}
{{1970s-drama-film-stub}}

The Tenderness of Wolves (film)

2021-01-09T12:32:17Z

Invulgo: /* Plot */ Clarified the frequent misconception that the people who eat the remains of Fritz Haarmann's victims are aware they are eating human flesh - when they patently are not. As evidence in the film they believe it is pork. This is also alluded to in the Roger Ebert review

{{missing information|the film's production, and home media releases|date=May 2019}}
{{Infobox film
| name = The Tenderness of Wolves
| image = Die Zärtlichkeit der Wölfe.jpg
| alt =
| caption = German theatrical release poster
| native_name = Die Zärtlichkeit der Wölfe
| director = [[Ulli Lommel]]
| producer = [[Rainer Werner Fassbinder]]<ref name="filmportal" />
| screenplay = [[Kurt Raab]]<ref name="filmportal" />
| based_on = 
| starring = {{plainlist|
*Kurt Raab
*Jeff Roden
*[[Margit Carstensen]]
*Hannelore Tiefenbrunner
}}
| music = [[Peer Raben]]
| cinematography = Jürgen Jürges<ref name="filmportal" />
| editing = {{plainlist|
*Thea Eymèsz
*Rainer Werner Fassbinder<ref name="filmportal" />}}
|production_companies = Tango-Film<ref name="filmportal" />
| distributor = Cinegate (1976, UK)
| released = {{film date|1973|6|29}}
| runtime = 82 minutes<ref name="filmportal" />
| country = West Germany<ref name="filmportal" />
| language = German
| budget =
| gross = 
}}
'''''The Tenderness of Wolves''''', ({{lang-de|'''Die Zärtlichkeit der Wölfe'''}}) is a 1973 [[Cinema of Germany|West German]] [[drama film]] directed by [[Ulli Lommel]]. The story is based on the crimes of [[German people|German]] [[serial killer]] and [[cannibalism|cannibal]] [[Fritz Haarmann]]. It was written by [[Kurt Raab]], who also stars in the film, and produced by [[Rainer Werner Fassbinder]]. It was entered into the [[23rd Berlin International Film Festival]].

==Plot==
{{more plot|date=May 2019}}
Fritz Haarmann is a [[serial killer]] who uses his position as a government inspector to [[rape]] and murder young boys in war-torn Germany. After killing his victims, he sells the meat to local restaurants and consumes it with his circle of unknowing friends.<ref>https://www.rogerebert.com/reviews/tenderness-of-the-wolves-1976</ref>

==Cast==
* [[Kurt Raab]] – Insp. Fritz Haarmann
* [[Jeff Roden]] – Hans Grans
* [[Margit Carstensen]] – Frau Lindner
* [[Ingrid Caven]] – Dora
* [[Wolfgang Schenck (actor)|Wolfgang Schenck]] – Kommissar Braun
* [[Brigitte Mira]] – Louise Engel
* [[Rainer Hauer]] – Kommissar Müller
* [[Barbara Bertram]] – Elli
* [[Rainer Werner Fassbinder]] – Wittowski
* [[Heinrich Giskes]] – Lungis
* [[Friedrich Karl Praetorius]] – Kurt Fromm
* [[Karl von Liebezeit]] – Herr Engel
* [[Walter Kaltheuner]] – Schuhmacher
* [[El Hedi ben Salem]] – Französischer Soldat
* [[Rainer Will]] – Opfer (as Reiner Will)

==Release==
{{expand section|date=May 2019}}
''The Tenderness of Wolves'' was released on June 29, 1973.<ref name="filmportal" />

==Reception==
{{expand section|date=May 2019}}
[[Roger Ebert]] rated the film 2.5 out of 4 stars, calling it " a nasty little melodrama, lurid and creepy and sometimes bordering on demented humor. It's the kind of movie we may not exactly enjoy, but we don't walk out on."<ref name="ebert76" />

[[Vincent Canby]] of ''[[The New York Times]]'' gave the film a positive review, commending the film's performances, cinematography, and direction.<ref name="canby77" /> Dennis Schwartz from ''Ozus' World Movie Reviews'' awarded the film a grade A, calling it "A wickedly entertaining but harrowing tale"; praising the film's [[expressionistic]] style, direction, and Raab's performance.<ref name="schwartz06" /> Chris Coffel from [[Bloody Disgusting]] praised the film for its historical accuracy, and unconventional narrative, stating that it was arguably Lommel's best film.<ref name="bloodydisgusting" /> Clayton Dillard of ''[[Slant Magazine]]'' awarded the film 4.5 out of 5 stars, writing "If ''Tenderness of the Wolves'' works on a reflexive register, it’s due to Raab’s performance, which consistently displays his own homosexuality in a fashion that blurs lines between fiction and documentary, albeit a bit coarsely, since Lommel often trains his camera on Haarmann’s sexual encounters to milk their exploitative potential."<ref name="slantmagazine" />

==References==
{{reflist|refs=
<ref name="bloodydisgusting">{{cite web |last1=Coffel |first1=Chris |title=[Blu-ray Review] 'Tenderness of the Wolves' |url=https://bloody-disgusting.com/reviews/3370125/blu-ray-review-tenderness-wolves-chilling-look-life-serial-killer/ |website=Bloody Disgusting.com |publisher=Chris Coffel |accessdate=16 May 2019}}</ref>
<ref name="canby77">{{cite web |last1=Canby |first1=Vincent |title=Screen: Vampire In Fassbinderland - The New York Times |url=https://www.nytimes.com/1977/05/20/archives/screen-vampire-in-fassbinderland.html |website=NYTimes.com |publisher=Vincent Canby |accessdate=16 May 2019}}</ref>
<ref name="ebert76">{{cite web |last1=Ebert |first1=Roger |title=Tenderness of the Wolves Movie Review (1976) |url=https://www.rogerebert.com/reviews/tenderness-of-the-wolves-1976 |website=RogerEbert.com |publisher=Roger Ebert |accessdate=16 May 2019}}</ref>
<ref name="filmportal">{{cite web|url=http://www.filmportal.de/en/movie/die-zaertlichkeit-der-woelfe_ea43d4a6dc795006e03053d50b37753d|publisher=[[Filmportal.de]]|title=Die Zärtlichkeit der Wölfe|accessdate=November 24, 2015}}</ref>
<ref name="schwartz06">{{cite web |last1=Schwartz |first1=Dennis |title=tendernessofthewolves |url=http://homepages.sover.net/~ozus/tendernessofthewolves.htm |website=Sover.net |publisher=Dennis Schwartz |accessdate=16 May 2019}}</ref>
<ref name="slantmagazine">{{cite web |last1=Dillard |first1=Clayton |title=Blu-ray Review: Tenderness of the Wolves - Slant Magazine |url=https://www.slantmagazine.com/dvd/tenderness-of-the-wolves/ |website=Slant Magazine.com |publisher=Clayton Dillard |accessdate=16 May 2019}}</ref>
}}

==External links==
* {{Allmovie|155594|The Tenderness of Wolves}}
* {{IMDb title|0070957|The Tenderness of Wolves}}
* {{Rotten tomatoes|tenderness_of_the_wolves|The Tenderness of Wolves}}

{{Ulli Lommel}}

{{DEFAULTSORT:Tenderness Of Wolves, The}}
[[Category:1973 films]]
[[Category:1970s biographical films]]
[[Category:1973 LGBT-related films]]
[[Category:1970s serial killer films]]
[[Category:Biographical films about serial killers]]
[[Category:Films about cannibalism]]
[[Category:Films directed by Ulli Lommel]]
[[Category:German drama films]]
[[Category:German-language films]]
[[Category:German LGBT-related films]]
[[Category:West German films]]
[[Category:Films about rape]]
[[Category:Cultural depictions of Fritz Haarmann]]
[[Category:Films set in Germany]]
[[Category:1973 drama films]]

{{1970s-Germany-film-stub}}
{{1970s-drama-film-stub}}

Electric Counterpoint

2021-01-09T12:10:27Z

Invulgo: /* Influence */ grammar issue which/who

{{italic title}}
{{More citations needed|date=January 2012}}
{{Use mdy dates|date=November 2018}}
{{listen
| filename = Pat Metheny-Electric Counterpoint III Fast.ogg
| title = Pat Metheny "Electric Counterpoint III Fast" (1989)
| description = 25 seconds of "Electric Counterpoint III Fast" performed by Pat Metheny. Composed by Steve Reich.
| format = [[Ogg]]
}}
'''''Electric Counterpoint''''' is a [[Minimalist music|minimalist]] composition by the American composer [[Steve Reich]]. The piece consists of three movements, "Fast," "Slow", and "Fast". Reich has offered two versions of the piece: one for electric guitar and [[Magnetic tape|tape]] (the tape part featuring two [[Bass guitar|electric bass guitars]] and up to ten electric guitars),<ref>{{cite web|url=https://www.allmusic.com/composition/electric-counterpoint-for-electric-guitar-bass-guitar-tape-mc0002358651|title=Electric Counterpoint, for… - Details - AllMusic|website=AllMusic|access-date=November 8, 2018}}</ref> the other for an ensemble of guitars. The work shares similarities with Reich's ''[[New York Counterpoint]]''.

== First recording ==
It was first recorded in 1987 by guitarist [[Pat Metheny]], who made extensive use of [[overdubbing]], and was released along with Reich's ''[[Different Trains]]'', performed by the [[Kronos Quartet]], on [[Nonesuch Records]] (catalogue number 979 176-2). Guitarists wishing to perform the piece may use Metheny's pre-recorded ensemble part or opt to record their own, adding the 13th guitar part in live performance. In 2007, the guitar ensemble Forestare made the first recording of the lesser known second version, on [[ATMA Classique]].

== Influence ==
As with other pieces by Reich, ''Electric Counterpoint'' has influenced many modern artists, such as [[the Orb]], who sampled the third movement of the [[Pat Metheny]] recording as one of the hooks of "[[Little Fluffy Clouds]]," and [[RJD2]], who sampled the piece's opening for his song "The Proxy" from his first release, ''Deadringer.'' In 2008 Joby Burgess' Powerplant arranged the work for [[Xylosynth]], taking influence from Metheny and the Orb. [[Röyksopp]] released two remixes of the third movement in 2010 for free, one which follows Reich's original closely and another reinterpretation titled "Milde Salve".<ref>{{cite web|url=http://royksopp.com/totm-steve-reich|title=Track Of The Month April 'Electric Counterpoint: III. Fast' - Röyksopp|date=April 1, 2010|access-date=November 8, 2018}}</ref> Since 2012, [[Radiohead]] guitarist [[Jonny Greenwood]] has performed the piece at several festivals<ref>{{cite web|title=Jonny Greenwood // Electric Counterpoint|url=http://opener.pl/en/Artists/Jonny-Greenwood-Electric-Counterpoint|website=Open'ner Festival|access-date=March 10, 2015|archive-url=https://web.archive.org/web/20150402102048/http://opener.pl/en/Artists/Jonny-Greenwood-Electric-Counterpoint|archive-date=April 2, 2015|url-status=dead}}</ref><ref>{{cite web|title=Hear Jonny Greenwood Perform At Big Ears Festival ’14|url=http://www.stereogum.com/1672699/hear-jonny-greenwood-perform-at-big-ears-festival-14/mp3s/|website=Stereogum|access-date=March 10, 2015}}</ref> and at concerts featuring the [[London Contemporary Orchestra]]; he recorded the piece for a Nonesuch album of Reich works titled ''[[Radio Rewrite]]'' released that same year, the title piece of which was inspired by two Radiohead songs.<ref>{{cite web |url=http://www.nonesuch.com/journal/steve-reich-radio-rewrite-alarm-will-sound-jonny-greenwood-vicky-chow-out-now-2014-09-30 |title= Steve Reich’s "Radio Rewrite" Featuring Alarm Will Sound, Jonny Greenwood, Vicky Chow Out Now |access-date=October 29, 2014}}</ref>

The third movement was included in the ''Edexcel [[GCSE]] Anthology of Music'', in the second area of study, "Music in the 20th Century". It was included in the video game ''[[Civilization V]]'' as one of the "great works of music" and was performed by during the [[Bluecoats Drum and Bugle Corps]] 2015 production "Kinetic Noise".<ref>{{cite web|url=https://www.youtube.com/watch?v=y9ktaAIzZZI|title=2015 Bluecoats - Kinetic Noise|last=Drum Corps International|date=March 23, 2016|access-date=November 8, 2018|via=YouTube}}</ref>

== Recordings ==
*''Electric Counterpoint'', Pat Metheny soloist, 1989. CD. Included on ''[[Steve Reich: Works 1965-1995]]''<ref>{{cite web|url=http://www.discogs.com/release/108357|title=Steve Reich - Kronos Quartet / Pat Metheny - Different Trains / Electric Counterpoint|website=Discogs|access-date=November 8, 2018}}</ref>
*''Electric Counterpoint'', [[David Tanenbaum]], New Albion Records, 1994. CD<ref>{{Cite web |url=http://www.newalbion.com/NA032/index.htm |title=Archived copy |access-date=May 8, 2009 |archive-url=https://web.archive.org/web/20090520014903/http://www.newalbion.com/NA032/index.htm |archive-date=May 20, 2009 |url-status=dead |df=mdy-all }}</ref>
*''Electric Counterpoint'', [[Röyksopp]], ''two versions'', 2010.<ref>{{cite web|url=http://royksopp.com/totm-steve-reich|title=Track Of The Month April 'Electric Counterpoint: III. Fast' - Röyksopp|date=April 1, 2010|access-date=November 8, 2018}}</ref>
* ''Electric Counterpoint'', [[Jonny Greenwood]] soloist, on the album ''Radio Rewrite'', Nonesuch, 2014. CD/download.<ref>{{cite web|url=http://www.nonesuch.com/albums/radio-rewrite|title=Nonesuch Records Radio Rewrite|website=Nonesuch Records Official Website|access-date=November 8, 2018}}</ref>

== Notes ==
{{reflist}}

{{Steve Reich}}

[[Category:Compositions for guitar]]
[[Category:Compositions by Steve Reich]]
[[Category:1987 compositions]]

Poor Cow

2021-01-08T12:01:45Z

Invulgo: clarified connotations of 'cow'

{{For|the novel|Poor Cow (novel)}}
{{Use British English|date=April 2016}}
{{Use dmy dates|date=April 2016}}
{{Short description|British film directed by Ken Loach}}
{{Infobox film
| name = Poor Cow
| image = Poor Cow DVD cover.jpg
| caption = DVD cover for ''Poor Cow''
| director = [[Ken Loach]]
| producer = Joseph Janni Edward Joseph '''executive''' Nat Cohen
| screenplay = [[Nell Dunn]] Ken Loach
| based_on = {{based on|''Poor Cow'' (novel)|Nell Dunn}}
| starring = [[Terence Stamp]] [[Carol White]] [[John Bindon]] [[Queenie Watts]] [[Kate Williams (actress)|Kate Williams]] [[Billy Murray (actor)|Billy Murray]]
| editing = Roy Watts
| music = [[Donovan]]
| cinematography = Brian Probyn
| studio = Vic Films Productions
| distributor = [[Anglo-Amalgamated]] {{small|(UK)}} National General {{small|(US)}}
| released = {{film date|df=y|1967|12|05|UK}}
| runtime = 101 min
| country = United Kingdom
| language = English
| budget = £210,000<ref name="walker">Alexander Walker, ''Hollywood, England'', Stein and Day, 1974 p377</ref>
| gross = $1,400,000 (US/ Canada)<ref>"Big Rental Films of 1968", ''Variety'', 8 January 1969 p 15. Please note this figure is a rental accruing to distributors.</ref>
}}

'''''Poor Cow''''' is a 1967 British [[Kitchen sink realism|Kitchen Sink]] drama directed by [[Ken Loach]] and based on [[Nell Dunn]]'s [[Poor Cow (novel)|novel of the same name]]. It was Ken Loach's first feature film, after a series of TV productions. Set in London, the [[Winstanley_Estate|Winstanley and York Road Estates]] in [[Battersea]] were amongst the locations featured prominently in the background.<ref>{{cite web |title=The Winstanley Plays Itself |url=https://vimeo.com/102127150}}</ref> <ref>{{cite web |title=Cinematic Depictions of Battersea |url=https://www.cam.ac.uk/research/features/cinematic-geographies-of-battersea}}</ref> The title is a [[British slang]] expression, with the word "cow" referring disrespectfully to a woman.

The film was re-released in the UK in 2016.<ref>{{cite web|url=https://www.bfi.org.uk/news-opinion/sight-sound-magazine/features/love-letter-carol-white|title=A love letter to Carol White|first=Catharine|last=Des Forges|date=2016|access-date=11 April 2020}}</ref>

==Plot==
18-year-old Joy, who comes from a big family with a heavy drinking mother and womanising father, leaves home to marry Tom and they have a son, Johnny. Tom mentally and physically abuses Joy and shows little interest or affection. He has been in prison for four years and, when he is jailed again after being caught attempting a big robbery, they are left on their own.

After briefly sharing a room with her Aunt Emm, an ageing prostitute, she moves in with Dave, one of Tom's criminal associates. Dave is tender and understanding, but the idyll is shattered when he is sentenced to 12 years' imprisonment for leading a robbery which results in a woman being blinded, and given his long criminal record. Intending to be faithful to him, Joy moves back with Aunt Emm, writes to him frequently, and initiates divorce proceedings against Tom.

However, after taking a job as a barmaid, she starts modelling for a seedy photographers' club and drifts into promiscuity. She likes men giving her presents but is too impulsive and easygoing to make a living as a prostitute. She is bored of her humdrum surroundings and dreams of bettering herself. When Tom is released, Joy goes back to him after he promises to move her from her small grotty flat to a modern well-furnished house. However, one evening, after Tom has slapped her several times, she goes out and, when she returns, she finds Tom watching the TV and Johnny missing. After a frantic search, she finds him alone on a demolition site where he has gone to play. Realising how much Johnny means to her, she decides to stay with Tom despite the abuse, but continues to dream of a future with Dave.

==Main cast==
{{Cast listing|
* [[Carol White]] as Joy
* [[Terence Stamp]] as Dave
* [[John Bindon]] as Tom
* [[Queenie Watts]] as Aunt Emm
* [[Kate Williams (actress)|Kate Williams]] as Beryl
* [[Billy Murray (actor)|Billy Murray]] as Tom's mate
* [[Tony Selby]] as Customer in Pub
* [[Anna Karen]] as Neighbour
* [[Michael Standing (actor)|Michael Standing]] as Young Man in Field
'''Credited despite scenes being cut'''
* [[Malcolm McDowell]] as Billy
* [[George Sewell]] as Customer in Pub
}}

==Production==
Terence Stamp says Ken Loach was inspired to write the film after meeting Carol White during ''[[Cathy Come Home]]'':
<blockquote>But he really didn’t write it; we didn’t really have a script. That was one of the things that was interesting about it. It was just wholly improvised. He had the idea, he had the overall trajectory in his mind, but we didn’t have a script. And, consequently, it had to be Take One because each of us had cameras on us. So before a take, he’d say something to Carol, and then he would say something to me, and we only discovered once the camera was rolling that he’d given us completely different directions. That’s why he needed two cameras, because he needed the confusion and the spontaneity.<ref>[http://www.avclub.com/articles/terence-stamp-on-accents-first-takes-and-playing-a,99926/ Sam Adams, "Terence Stamp on accents, first takes, and playing a transsexual ", ''AV Club'' 10 July 2013] accessed 16 July 2013</ref></blockquote>

===Music===
The opening credits attribute the film music to [[Donovan]], although many pop songs like "Funny how love can be" by the Ivy League and "Not Fade Away" by the Rolling Stones from the era are heard in the film. Three Donovan songs are heard in the film, including the title song. The melody of the title song is repeated instrumentally in diverse arrangements in several parts of the film. It was released as single b-side to "[[Jennifer Juniper]]" in early 1968 in a different arrangement and with altered lyrics. For example, the standard release version opens with the line "I dwell in the north in the green country", while the version in the film opens with the line "I dwell in the town in the grey country".

Other songs by Donovan in the film are "Be Not Too Hard" and "[[Colours (Donovan song)|Colours]]", the latter of which is sung by the character played by [[Terence Stamp]].

==Reception==
===Box office===
The film was a surprise success at the box office. It sold to the US for more than its production cost and did extremely well in Italy and Britain.<ref name="walker"/> On the film's re-release in 2016, Kate Muir in ''The Times'' gave the film four stars out of five and described the film as "incredibly moving".<ref>{{cite news|url=https://www.thetimes.co.uk/article/poor-cow-1967-99cr37jzq|work=The Times|date=24 June 2016 |last=Muir|first=Kate|title=Poor Cow (1967)|access-date=11 April 2020}}</ref>

===Critical response===
''[[The Monthly Film Bulletin]]'' was critical of the film, summing it up as a "superficial, slightly patronising incursion into the nether realms of [[social realism]]". The review characterised Loach's direction as an "incongruous mixture of realism and romanticism" that, along with the cinematography, "suffuses the material in a cheery glow of [[lyricism]] that often verges on sentimentality."<ref>{{Cite magazine|magazine=[[The Monthly Film Bulletin]]|title=''Poor Cow'', Great Britain, 1967|volume=35|number=409|date=February 1968|publisher=[[British Film Institute]]|location=London, UK|page=23}}</ref> Writing in ''The Guardian'', [[Richard Roud]] criticised the film as "downright awful" and particularly criticised "the tiresomely obvious documentary shots constantly thrown in to emphasise the ugliness of our couple’s surroundings", although he did praise Terence Stamp's performance as "superb".<ref>{{cite news|url=https://www.theguardian.com/film/2017/dec/08/ken-loach-poor-cow-reviewed-1967|publisher=The Guardian|title=Ken Loach's Poor Cow reviewed - archive, 1967 |last=Roud|first=Richard|date=8 December 1967|access-date=11 April 2020}}</ref>

[[Film criticism#Journalistic criticism|Film critic]] [[Renata Adler]] of ''[[The New York Times]]'' wrote in her review: "''Poor Cow'', which opened yesterday at the Murray Hill and other theaters, begins with some shots of the real birth of a baby, and goes on to become one of those ringingly false. Technicolor British films about working-class life in London. It is not very good; but January has been, in general, a poor month for movies, and it might be a good idea to look at the bright side—which, since the quality of the color makes England look like April in Disneyland, is very bright indeed."<ref>{{cite news|url=https://www.nytimes.com/1968/02/01/archives/the-screen-mrs-alfie-confronts-a-vinyl-worldworkingclass-london.html|first=Renata|last=Adler|authorlink=Renata Adler|title=The Screen: Mrs. Alfie Confronts a Vinyl World:Working-Class London Depicted in 'Poor Cow' Day-Glo Mural Stars Young Carol White|work=[[The New York Times]]|publisher=[[The New York Times Company]]|location=[[New York City]]|date=1 February 1968|accessdate=1 July 2020}}</ref>

==Later use==
Clips of Stamp's performance in ''Poor Cow'' were used to show the early life of Wilson, the character he portrays in [[Steven Soderbergh]]'s film ''[[The Limey]]'' (1999).

==References==
{{reflist}}

==External links==
*{{BFI}}
*{{IMDb title|0062141|Poor Cow}}
* {{MetroLyrics song|donovan|poor-cow}}

{{Ken Loach}}

[[Category:1967 films]]
[[Category:1967 drama films]]
[[Category:British drama films]]
[[Category:British films]]
[[Category:English-language films]]
[[Category:Films about domestic violence]]
[[Category:Films about dysfunctional families]]
[[Category:Films based on British novels]]
[[Category:Films directed by Ken Loach]]
[[Category:Films about prostitution in the United Kingdom]]
[[Category:Films set in London]]
[[Category:Social realism in film]]
[[Category:1967 directorial debut films]]

John Cassavetes

2021-01-04T18:36:46Z

Invulgo: /* Death */ minute spacing issue

{{short description|Greek-American actor, film director, and screenwriter (1929-1989)}}
{{Use mdy dates|date=October 2013}}
{{Infobox person
| name = John Cassavetes
| image = John Cassavetes Johnny Staccato 1959.jpg
| caption = John Cassavetes as ''[[Johnny Staccato]]'' (1959)
| birth_name = John Nicholas Cassavetes
| birth_date = {{Birth date|1929|12|9|mf=y}}
| birth_place = [[New York City]], [[New York (state)|New York]], U.S.
| death_date = {{Death date and age|1989|2|3|1929|12|9|mf=y}}
| death_place = [[Los Angeles]], [[California]], U.S.
| resting_place = [[Westwood Village Memorial Park Cemetery]]
| nationality = American
| education = [[Blair Academy]]
| alma_mater = [[American Academy of Dramatic Arts]]
| occupation = {{flatlist|
* Actor
* filmmaker}}
| years_active = 1951–1989
| spouse = {{marriage|[[Gena Rowlands]]|1954}}
| children = {{flatlist|
* [[Nick Cassavetes|Nick]]
* [[Alexandra Cassavetes|Alexandra]]
* [[Zoe Cassavetes|Zoe]]}}
| parents = [[Katherine Cassavetes]]
}}

'''John Nicholas Cassavetes''' ([[Greek language|Greek]]: Ιωάννης Νικόλαος Κασσαβέτης, {{IPAc-en|ˌ|k|æ|s|ə|ˈ|v|ɛ|t|iː|z}};<ref>{{Cite web|url=https://www.youtube.com/watch?v=cTLedTEs4lY|title=Martin Scorsese on John Cassavetes}}</ref> December 9, 1929 – February 3, 1989) was an American actor, film director, and screenwriter.<ref>{{Cite news |url=https://www.theguardian.com/film/2007/jun/08/3 |title=Message in a bottle |last=Sutherland |first=John |date=June 7, 2007 |newspaper=[[The Guardian]] |archive-url=https://web.archive.org/web/20140419140702/http://www.theguardian.com/film/2007/jun/08/3 |archive-date=April 19, 2014 |url-status=live |quote=Cassavetes was a second generation American-Greek, and he had a long and fruitful relationship with the actor Ben Gazzara – one of the first of his profession to parade his immigrant origins with an unchanged, aggressively "wop", professional name. Long before David Chase (né "de Caesare"), Cassavetes and Gazzara investigated ethnic edginess.}}</ref> First known as an actor on television and in film, Cassavetes also became a pioneer of American [[Independent film|independent cinema]], writing and directing movies financed in part with income from his acting work.<ref>{{Cite web|url=http://www.bfi.org.uk/news-opinion/news-bfi/features/john-gena-dynamite-screen|title=John + Gena: dynamite on screen and off|website=British Film Institute|access-date=2016-05-21}}</ref> [[AllMovie]] called him "an iconoclastic maverick,"<ref name="auto">Ankeny, Jason. [https://www.allmovie.com/artist/john-cassavetes-p84410 John Cassavetes]. ''[[AllMovie]]''.</ref> while ''[[The New Yorker]]'' suggested that he "may be the most influential American director of the last half century."<ref name="The New Yorker 2013, p. 17">''The New Yorker'', July 1, 2013, p. 17 "On the Horizon: Movies: Wild Man Blues July 6–31"</ref>

As an actor, Cassavetes starred in notable [[Hollywood]] films throughout the 1950s and 1960s, including ''[[Edge of the City]]'' (1957), ''[[The Dirty Dozen]]'' (1967), and ''[[Rosemary's Baby (film)|Rosemary's Baby]]'' (1968). He began his directing career with the 1959 independent feature ''[[Shadows (1959 film)|Shadows]]'' and followed with independent productions such as ''[[Faces (1968 film)|Faces]]'' (1968), ''[[Husbands (film)|Husbands]]'' (1970), ''[[A Woman Under the Influence]]'' (1974), ''[[Opening Night (1977 film)|Opening Night]]'' (1977), and ''[[Love Streams (film)|Love Streams]]'' (1984). He intermittently continued to work on studio projects such as [[Elaine May]]'s ''[[Mikey and Nicky]]'' (1976) and his own ''[[Gloria (1980 film)|Gloria]]'' (1980).

Cassavetes' films employed an actor-centered approach which privileged character examination and "small feelings" over traditional [[Hollywood]] storytelling or stylized production values. His films became associated with an improvisational, [[cinéma vérité]] aesthetic.<ref name="auto"/>{{refn|group=nb|Cassavetes's use of improvisation is often misunderstood; his films were almost entirely scripted, but he neglected to dictate his actors' deliveries, allowing them to develop their own interpretations of the lines. Additionally, he frequently rewrote scripts based on rehearsals and actor suggestions.<ref name="Ray Carney pp. 217">Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: pp. 217.</ref>}} He collaborated frequently with a rotating group of friends, crew members, and actors, including his wife [[Gena Rowlands]], [[Peter Falk]], [[Ben Gazzara]], and [[Seymour Cassel]]. Many of his films were shot and edited in his and Rowland's own Los Angeles home.

For his role in ''The Dirty Dozen'', Cassavetes received a nomination for the [[Academy Award for Best Supporting Actor]].<ref>{{Cite web|url=https://www.youtube.com/watch?v=M-Fe6nF5mcU|title=George Kennedy winning Best Supporting Actor-Oscars on YouTube}}</ref><ref>[https://www.oscars.org/oscars/ceremonies/1968 1968|Oscars.org]</ref> As a filmmaker, he was nominated for the [[Academy Award for Best Original Screenplay]] for ''Faces'' (1968)<ref>{{Cite web|url=https://www.youtube.com/watch?v=TcnSXEvzULk|title=Mel Brooks Wins Original Screenplay: 1969 Oscars}}</ref><ref>[https://www.oscars.org/oscars/ceremonies/1969 1969|Oscars.org]</ref>
and the [[Academy Award for Best Director]] for ''A Woman Under the Influence'' (1974).<ref>{{Cite web|url=https://www.youtube.com/watch?v=VcFwUo_cGiw|title=Francis Ford Coppola Wins Best Director: 1975 Oscars}}</ref><ref>{{Cite web|url=https://www.youtube.com/watch?v=o-wRzEoMqJg|title=Ellen Burstyn Wins Best Actress: 1975 Oscars}}</ref> The [[Independent Spirit Awards]] named the [[Independent Spirit John Cassavetes Award|John Cassavetes Award]] in his honor.

==Early life==
Cassavetes was born in New York City, the son of [[Greek American]] actress [[Katherine Cassavetes]] (née Demetre), who was to be featured in some of his films, and [[Greeks|Greek]] immigrant Nicholas John Cassavetes ([[Greek language|Greek]]: Νικόλαος Ιωάννης Κασσαβέτης), who was born in [[Larissa]] to [[Aromanians|Aromanian]] parents from the village of [[Vrysochori]]. Members of the Cassavetes family later settled in [[Volos]] and [[Zagora, Greece|Zagora]]. His early years were spent with his family in Greece; when he returned at age seven, he spoke no English.<ref>Ventura, Michael. 2007. ''Cassavetes Directs: John Cassavetes and the Making of Love Streams'', {{ISBN|1-84243-228-1}}; p. 176</ref> He was raised on [[Long Island]], [[New York (state)|New York]]. He attended Port Washington High School from 1945 to 1947 and participated in ''Port Weekly'' (the school paper), ''Red Domino'' (interclass play), football, and the ''Port Light'' (yearbook).

Cassavetes attended [[Blair Academy]] in [[New Jersey]] and spent a semester at [[Plattsburgh (town), New York|Plattsburgh, New York's]] Champlain College before being expelled due to his failing grades.<ref>{{cite book |last=Fine |first=Marshall |date=2005 |title=Accidental Genius: How John Cassavetes Invented the American Independent Film |url=https://books.google.com/books?id=aLMcAQAAIAAJ&q=%22champlain+college%22 |location=New York, NY |publisher=Miramax Books |pages=4, 10, 16 |isbn=978-1-4013-5249-3 |via=[[Google Books]] |ref={{sfnRef|Fine|pages=4, 10, 16}}}}</ref>{{efn|Cassavetes attended the Champlain College that began as a higher education facility for World War II veterans.<ref name="LostColleges">{{cite web |url=https://www.lostcolleges.com/associated-colleges-of-upper-new-york |title=Champlain College, Plattsburgh, New York, 1946-1953 |website=Associated Colleges of Upper New York, Hobart, Plattsburgh, and Utica, NY |publisher=Lost Colleges.com |access-date=September 28, 2020}}</ref> It operated at the former [[Old Stone Barracks|Plattsburgh Barracks]] from 1946 to 1953, and closed when the U.S. military reclaimed the site for use as part of [[Plattsburgh Air Force Base]].<ref name="LostColleges"/> He did not attend the [[Champlain College]] that is located in [[Burlington, Vermont]].{{sfn|Fine|pages=4, 10, 16}}}} He spent a few weeks hitchhiking to Florida and then transferred to the [[American Academy of Dramatic Arts]], encouraged by recently enrolled friends who told him the school was "packed with girls".<ref>"A Constant Forge documentary", 2000. Written and directed by Charles Kiselyak</ref> He graduated in 1950 and met his future wife [[Gena Rowlands]] at her audition to enter the Academy<ref>{{cite news | url=http://www.hollywoodreporter.com/race/gena-rowlands-i-never-wanted-762462 | title= The Hollywood Reporter Interview with Gena Rowlands | date= March 29, 2015}}</ref> in 1953. They were married four months later in 1954.<ref>"A Constant Forge" documentary, 2000. Written and directed by Charles Kiselyak</ref> He continued acting in the theater, took small parts in films and began working on television in [[anthology series]], such as ''[[Alcoa Theatre]]''.

==Middle years==

===Acting workshop and ''Shadows''===
By 1956, Cassavetes had begun teaching an alternative to [[method acting]] in his own workshop—co-founded with friend Burt Lane in New York City—in which character creation, rather than backstory or narrative requirements, would serve as the basis for performance.<ref name="Ray Carney pp. 52-53">Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: pp. 52-53.</ref> Cassavetes was particularly scornful of [[Lee Strasberg]]'s Method-based [[Actors Studio]], believing that the Method was "more a form of psychotherapy than of acting" which resulted in sentimental cliches and self-indulgent emotion.<ref name="Ray Carney pp. 52-53"/> In contrast to the Actors Studio's "moody, broody anguish," the Cassavetes-Lane approach held that acting should be an expression of creative joy and exuberance, with emphasis put on the character's creation of "masks" in the process of interacting with other characters.<ref name="Ray Carney pp. 52-53"/>

Shortly after opening the workshop, Cassavetes was invited to audition at the Actors Studio, and in response he and Lane devised a prank: they claimed to be performing a scene from a recent stage production but in fact improvised a performance on the spot, fooling an impressed Strasberg.<ref name="Ray Carney pp. 52-53"/> Cassavetes then fabricated a story about his financial troubles, prompting Strasberg to offer him a full scholarship to the Studio; Cassavetes promptly rejected it on the basis that Strasberg couldn't know anything about acting to have been so easily fooled by the two ruses.<ref name="Ray Carney pp. 52-53"/>

An [[improvisation]] exercise in the workshop inspired the idea for his writing and directorial debut, ''[[Shadows (1959 film)|Shadows]]'' (1959; first version 1957). Cassavetes raised the funds for the production from friends and family, as well as listeners to [[Jean Shepherd]]'s late-night radio talk-show ''Night People''. His stated purpose was to make a film about modest-income “little people”, unlike Hollywood studio productions, which focused on stories about wealthy people. Cassavetes was unable to gain American distribution of ''Shadows'', but it won the Critics Award at the [[Venice Film Festival]]. European distributors later released the movie in the United States as an import. Although the box-office returns of ''Shadows'' in the United States were slight, it did gain attention from the Hollywood studios.

=== Television and acting jobs ===
[[File:John Cassavetes Gena Rowlands Johnny Staccato 1959.JPG|thumb|left|Cassavetes with his wife, actress [[Gena Rowlands]] in 1959]][[File:John Cassavetes Edge of the City trailer 1957.jpg|thumb|right|220x220px|A still from the ''Edge of the City'' trailer]]
Cassavetes played bit-parts in [[B movie|B pictures]] and in television serials, until gaining notoriety in 1955 as a vicious killer in ''[[The Night Holds Terror]],'' and as a juvenile delinquent in the live TV drama ''[[Crime in the Streets]]''. Cassavetes would repeat this performance in the 1956 film version. His first starring role in a feature film was ''[[Edge of the City]]'' (1957), which co-starred [[Sidney Poitier]]. He was briefly under contract to [[Metro-Goldwyn-Mayer]] and co-starred with [[Robert Taylor (actor)|Robert Taylor]] in the western ''[[Saddle the Wind]]'', written by [[Rod Serling]]. In the late 1950s, Cassavetes guest-starred in [[Beverly Garland]]'s groundbreaking [[Crime film#Crime drama|crime drama]], ''[[Decoy (TV series)|Decoy]]'', about a New York City woman police undercover detective. Thereafter, he played [[Johnny Staccato]], the title character in a television series about a jazz pianist who also worked as a private detective. In total he directed five episodes of the series, which also features a guest appearance by his wife [[Gena Rowlands]]. It was broadcast on [[NBC]] between September 1959 and March 1960 when it was acquired by [[American Broadcasting Company|ABC]] and although critically acclaimed, the series was cancelled in September 1960. Cassavetes would appear on the NBC interview program, ''[[Here's Hollywood]]''.

In 1961 Cassavetes signed a seven-year deal with Paramount.<ref>Cassavetes Signs Seven-Year Pact: Will Direct Sidney Poitier; Elvis on Movies, Cooking Hopper, Hedda. Los Angeles Times 19 May 1961: B8.</ref> Cassavetes directed two movies for Hollywood in the early 1960s – ''[[Too Late Blues]]'' (1961) and ''[[A Child Is Waiting]] (1963)''. ''A Child Is Waiting (1963)'' starred [[Burt Lancaster]] and [[Judy Garland]]. He also starred in the CBS western series ''[[Rawhide (TV series)|Rawhide]],'' in the episode "Incident Near Gloomy River" (1961). In the 1963–1964 season he was cast in the ABC [[medical drama]] about [[psychiatry]], ''[[Breaking Point (1963 TV series)|Breaking Point]]''. In 1964, he again co-starred with his wife, this time in an episode of ''[[List of Alfred Hitchcock Presents episodes|The Alfred Hitchcock Hour]]'' anthology program, and in 1965, he appeared on ABC's western series, ''[[The Legend of Jesse James (TV series)|The Legend of Jesse James]]''. The same year he also guest-starred in the [[World War II]] series, ''[[Combat!]]'', in the episode "S.I.W." as well as insane nuclear scientist Everett Lang in ''[[Voyage to the Bottom of the Sea (TV series)|Voyage to the Bottom of the Sea]]'', season 2, episode "The Peacemaker".[[File:Cassavettes Farrow.jpg|thumb|219x219px|Cassavetes and [[Mia Farrow]] in ''[[Rosemary's Baby (film)|Rosemary's Baby]]'' (1968)]]With payment for his work on television, as well as a handful of film acting jobs, he was able to relocate to California and to make his subsequent films independent of any studio, as ''Shadows'' had been made. The films in which he acted with this intention include [[Don Siegel]]'s ''[[The Killers (1964 film)|The Killers]]'' (1964), the motorcycle gang movie ''Devil's Angels'' (1967), ''[[The Dirty Dozen]]'' (1967), for which he was nominated for an [[Academy Award for Best Supporting Actor]], [[Roman Polanski]]'s ''[[Rosemary's Baby (film)|Rosemary's Baby]]'' (1968), and ''[[The Fury (1978 film)|The Fury]]'' (1978). Cassavetes portrayed the murderer in a 1972 episode of the TV crime series ''[[Columbo]]'', titled "Étude in Black". Cassavetes and series star [[Peter Falk]] had previously starred together in the 1969 mob action thriller ''[[Machine Gun McCain]]''.

=== ''Faces International'' films===
''[[Faces (1968 film)|Faces]]'' (1968) was the second film to be both directed and independently financed by Cassavetes. The film starred his wife [[Gena Rowlands]], whom he had married during his struggling actor days, [[John Marley]], [[Seymour Cassel]] and [[Val Avery]], as well as several first time actors, such as lead actress [[Lynn Carlin]]. It depicts the slow disintegration of a contemporary marriage. The film reportedly took three years to make, and was made largely in the Cassavetes home. ''Faces'' was nominated for three Academy Awards: [[Academy Award for Writing Original Screenplay|Best Original Screenplay]],<ref>{{Cite web|url=https://www.oscars.org/oscars/ceremonies/1969|title=The 41st Academy Awards | 1969|website=Oscars.org | Academy of Motion Picture Arts and Sciences}}</ref> [[Academy Award for Best Supporting Actor|Best Supporting Actor]],<ref>{{Cite web|url=https://www.youtube.com/watch?v=nVYZeZUKvv0|title=Jack Albertson Win Supporting Actor:1969 Oscars}}</ref> and
[[Academy Award for Best Supporting Actress|Best Supporting Actress]].<ref>{{Cite web|url=https://www.youtube.com/watch?v=oxsLNhH0yjA|title=Ruth Gordon Wins Supporting Actress: 1969 Oscars}}</ref> Around this time, Cassavetes formed "Faces International" as a distribution company to handle all of his films.

In 1970, Cassavetes directed and acted in ''[[Husbands (film)|Husbands]]'', with actors [[Peter Falk]] and [[Ben Gazzara]]. They played a trio of married men on a spree in New York and London after the funeral of one of their best friends.<ref>{{Cite web|url=https://www.indiewire.com/2009/08/cinemadaily-cassavetes-husbands-on-dvd-today-70042/|title=cinemadaily | Cassavetes' "Husbands" On DVD Today|first1=Andy|last1=Lauer|date=August 18, 2009}}</ref> Cassavetes stated this was a personal film for him; his older brother died at the age of 30.<ref>{{cite web|url=http://www.tcm.com/tcmdb/title/4812/Husbands/|title=Husbands (1970) - Overview - TCM.com|publisher=[[Turner Classic Movies]]|access-date=February 14, 2020}}</ref>

''[[Minnie and Moskowitz]]'' (1971), about two unlikely lovers, featured Rowlands and Cassel. ''[[A Woman Under the Influence]]'' (1974) stars Rowlands as an increasingly troubled housewife. Rowlands received an Academy Award nomination for [[Academy Award for Best Actress|Best Actress]], while Cassavetes was nominated for [[Academy Award for Directing|Best Director]].<ref>{{Cite web|url=https://www.oscars.org/oscars/ceremonies/1975|title=The 47th Academy Awards | 1975|website=Oscars.org | Academy of Motion Picture Arts and Sciences}}</ref> In ''[[The Killing of a Chinese Bookie]]'' (1976), Gazzara plays a small-time strip-club owner with an out-of-control gambling habit, pressured by mobsters to commit a murder to pay off his debt.

''[[Opening Night (1977 film)|Opening Night]]'' (1977) Rowlands plays the lead alongside Cassavetes and the film also stars Gazzara and [[Joan Blondell]]. Rowlands portrays an aging film star named Myrtle Gordon working in the theater and suffering a personal crisis. Alone and unloved by her colleagues, in fear of aging and always removed from others due to her stardom, she succumbs to alcohol and hallucinations after witnessing the accidental death of a young fan. Ultimately, Gordon fights through it all delivering the performance of her life in a play. Rowlands won the [[Silver Bear for Best Actress]] at the [[28th Berlin International Film Festival]] for her performance.<ref name="berlinale">{{cite web |url=http://www.berlinale.de/en/archiv/jahresarchive/1978/03_preistr_ger_1978/03_Preistraeger_1978.html |title=Berlinale 1978: Prize Winners |access-date=August 8, 2010 |work=berlinale.de }}</ref>

== Last years ==
Cassavetes directed the film ''[[Gloria (1980 film)|Gloria]]'' (1980), featuring Rowlands as a Mob [[wikt:moll|moll]] who tries to protect an orphan boy whom the Mob wants to kill. Rowlands earned another Best Actress nomination for it.<ref>{{Cite web|url=https://www.youtube.com/watch?v=y0r7yq11OyU|title=Sissy Spacek Wins Best Actress: 1981 Oscars}}</ref><ref>{{Cite web|url=https://www.oscars.org/oscars/ceremonies/1981|title=The 53rd Academy Awards | 1981|website=Oscars.org | Academy of Motion Picture Arts and Sciences}}</ref> In 1982, Cassavetes starred in [[Paul Mazursky]]'s ''[[Tempest (1982 film)|Tempest]],'' which co-starred Rowlands, [[Susan Sarandon]], [[Molly Ringwald]], [[Raúl Juliá]] and [[Vittorio Gassman]].

Cassavetes penned the stage play ''Knives'', the earliest version of which he allowed to be published in the 1978 premiere issue of ''On Stage'', the quarterly magazine of the American Community Theatre Association, a division of the American Theatre Association.<ref>{{cite journal|last1=Cassavetes|first1=John|editor1-last=Bayshore|editor1-first=Irenedianna|title=Knives|journal=On Stage|date=1978|issue=premiere issue|pages=21–47|publisher=American Community Theatre Association|language=en|postscript=journal 1978 Institute for Dramatic Research, Fullerton, California.}}</ref> The play was produced and directed as one of his ''Three Plays of Love and Hate'' at Hollywood, California's Center Theater in 1981. The trio of plays included versions of Canadian playwright [[Ted Allan]]'s ''The Third Day Comes'' and ''Love Streams,'' the latter of which served as the blueprint for Cassavetes's 1984 film of the same name.<ref>{{cite web|last1=Linden|first1=Sheri|title=John Cassavetes 'Three Plays of Love and Hate'|url=http://cassavetesevent.com/wp/?page_id=1062|website=cassevetesevent.com|publisher=Steve Reisch|access-date=24 August 2017}}</ref>

Cassavetes made the [[Cannon Films]]-financed<ref>{{Cite web|url=https://www.vulture.com/2015/10/cannon-box-set-best-of-moments.html|title=Cannon Films: A 10-Part Appreciation of the Studio That Revolutionized 'So Bad, It's Good' Movies|website=Vulture}}</ref><ref>{{Cite web|url=https://consequenceofsound.net/2016/02/the-cannon-canon-the-top-20-cannon-films/|title=The Cannon Canon: The Top 20 Cannon Films|date=February 21, 2016}}</ref> ''[[Love Streams (film)|Love Streams]]'' (1984), which featured him as an aging playboy who suffers the overbearing affection of his recently divorced sister. It was entered into the [[34th Berlin International Film Festival]] where it won the [[Golden Bear]].<ref name="Berlinale 1984">{{cite web |url=http://www.berlinale.de/en/archiv/jahresarchive/1984/03_preistr_ger_1984/03_Preistraeger_1984.html |title=Berlinale: 1984 Winners |access-date=January 4, 2011 |work=berlinale.de }}</ref> The film is often considered Cassavetes's "last film" in that it brought together many aspects of his previous films. He despised the film ''[[Big Trouble (1986 film)|Big Trouble]]'' (1986), which he took over during filming from [[Andrew Bergman]], who wrote the original screenplay. Cassavetes came to refer to the film as "The aptly titled 'Big Trouble,'" since the studio vetoed many of his decisions for the film and eventually edited most of it in a way with which Cassavetes disagreed.<ref>Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: pp. 501–502.</ref>

In January 1987, Cassavetes was facing health problems, but he wrote the three-act play ''Woman of Mystery'' and brought it to the stage in May and June at the [[Royal Court Theatre|Court Theater]].<ref>Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: p. 506.</ref>

Cassavetes worked during the last year of his life to produce a last film that was to be titled ''She's Delovely''. He was in talks with [[Sean Penn]] to star, though legal and financial hurdles proved insurmountable and the project was forgotten about until after Cassavetes' death, when it was finally made as ''[[She's So Lovely]]'', directed by his son [[Nick Cassavetes]].<ref>Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: pp. 508–510.</ref>

==Death==
[[File:John Cassavetes grave at Westwood Village Memorial Park Cemetery in Brentwood, California.JPG|thumb|John Cassavetes's grave]]
A long-term alcoholic,<ref>https://www.theguardian.com/film/2007/jun/08/3</ref> Cassavetes died on February 3, 1989, at the age of 59, from complications of cirrhosis of the liver. He is buried at [[Westwood Village Memorial Park]] cemetery in Los Angeles.

At the time of his death, Cassavetes had amassed a collection of more than 40 unproduced screenplays, as well as a novel, ''Husbands''.<ref>Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: p. 503.</ref> He also left three unproduced plays: ''Sweet Talk'', ''Entrances and Exits'' and ''Begin the Beguine''. But ''Begin the Beguine'', in German translation, was co-produced by Needcompany of Belgium and Burgtheater of Vienna; it premiered on stage at Vienna's Akademietheater in 2014.<ref>{{cite web|last1=D.S.K.|title=Begin at last|url=https://www.economist.com/blogs/prospero/2015/01/john-cassavetes|website=The Economist|publisher=Economist Group|access-date=24 August 2017}}</ref><ref>{{cite web|title=World Premiere Begin the Beguine|url=https://www.facebook.com/events/653575871350103/?ref=5|website=Facebook events, Needcompany host|publisher=Facebook|access-date=24 August 2017}}</ref>

== Legacy ==
Cassavetes is the subject of several biographies. ''Cassavetes on Cassavetes'' is a collection of interviews collected or conducted by [[Boston University]] film scholar [[Ray Carney]], in which the filmmaker recalled his experiences, influences and outlook on the film industry. In the Oscar 2005 edition of ''[[Vanity Fair (magazine)|Vanity Fair]]'', one article features a tribute to Cassavetes by three members of his stock company, Rowlands, [[Ben Gazzara]] and [[Peter Falk]].

Many of Cassavetes's films are owned by Faces Distribution, a company overseen by Gena Rowlands and [[Julian Schlossberg]], distributed by Jumer Films (Schlossberg's own company), with additional sales and distribution by [[Janus Films]]. In September 2004 [[The Criterion Collection]] produced a [[DVD region code#Region codes and countries|Region 1]] DVD box set of his five independent films: ''Shadows'', ''Faces'', ''A Woman Under the Influence'', ''The Killing of a Chinese Bookie'' and ''Opening Night''. Also featured in the set is a documentary about the life and works of Cassavetes, ''A Constant Forge'', a booklet featuring critical assessments of the director's work and tributes by old friends. Criterion released a Blu-ray version of the set in October 2013. In 2005 a box set of the same films was released in [[DVD region code#Region codes and countries|Region 2]] by [[Optimum Releasing]]. The Optimum DVD of ''Shadows'' has a voice-over commentary by Seymour Cassel. Then, in 2014, the Faces/Jumer library became the property of [[Shout! Factory]], which acquired the films' holding parent company, Westchester Films.

Cassavetes's son [[Nick Cassavetes]] followed in his father's footsteps as an actor and director. In 1997, Nick Cassavetes made the film ''[[She's So Lovely]]'' from the ''She's Delovely'' screenplay his father had written. The film starred Sean Penn, as John Cassavetes had wanted. [[Alexandra Cassavetes]] directed the documentary ''[[Z Channel: A Magnificent Obsession]]'' in 2004, and in 2006 served as 2nd Unit Director on her brother Nick's film, ''[[Alpha Dog]]''. Cassavetes's younger daughter [[Zoe Cassavetes]] wrote and directed the 2007 film ''[[Broken English (2007 film)|Broken English]]'', featuring Rowlands and [[Parker Posey]].

''[[The New Yorker]]'' wrote that Cassavetes "may be the most influential American director of the last half century"—this in announcing that all the films he directed, plus others he acted in, were being screened in a retrospective tribute at the [[Brooklyn Academy of Music]] throughout July 2013.<ref name="The New Yorker 2013, p. 17"/>

The [[Film Independent Spirit Awards|Independent Spirit Awards]] named one of their categories after Cassavetes, the [[Independent Spirit John Cassavetes Award]].

A one-person show about John Cassavetes titled ''Independent'' <ref>{{Cite web|url=https://www.essentialtheatre.com/play/independent/|title=Essential Theatre presents: INDEPENDENT}}</ref> premiered at Essential Theatre in Atlanta in August 2017. The play was written by John D. Babcock III and starred actor Dan Triandiflou as Cassavetes.

The song "What's Yr Take on Cassavetes?" by the band [[Le Tigre]] is about John Cassavetes and questions whether he can be considered a feminist.<ref>{{Cite web|url=https://genius.com/Le-tigre-whats-yr-take-on-cassavetes-lyrics|title=Le Tigre – What's Yr Take on Cassavetes?|via=genius.com}}</ref>

The song "Cassavetes" by the band [[Fugazi]] parallels John Cassavetes' independence from the film industry with the band's own independence from the record industry.<ref>{{Cite book|title=Fugazi's In on the Kill Taker (33 1/3)|last=Gross|first=Joe|publisher=Bloomsbury Academic|year=2018|isbn=978-1-5013-2139-9|location=New York|pages=115}}</ref> In concert, singer [[Guy Picciotto]] introduced it as "a song about making your own road."<ref>{{Cite web|url=https://www.dischord.com/fugazi_live_series/new-york-city-ny-usa-92493|title=Fugazi Live Series: New York City, NY USA 9/24/93|website=www.dischord.com}}</ref>

==Filmmaking style==

===Directing===
Cassavetes's films aim to capture "small feelings" often repressed by Hollywood filmmaking, with emphasis placed on intimate character examination rather than plot, backstory, or stylization.<ref name="auto"/> He often presented difficult characters whose inner desires were not easily understood, rejecting simplistic psychological or narrative explanations for their behavior. Cassavetes also paid little attention to the "impressionistic cinematography, linear editing, and star-centred scene making" that are fashionable in Hollywood and art films.<ref>Bendedetto, Lucio. "Forging an Original Response: A Review of Cassavetes Criticism in English", ''Post Script'' V. 11 n. 2. (Winter 1992): 101.</ref> Instead, he worked to create a comfortable and informal environment where actors felt free to experiment with their performances and go beyond acting clichés or "programmed behaviors."<ref>Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: pp. 283.</ref>

Cassavetes also rejected the dominance of the director's singular vision, instead believing each character must be the actor's "individual creation" and refusing to explain the characters to his actors in any significant detail.<ref name="Ray Carney pp. 65">Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: pp. 65.</ref> He claimed that "stylistic unity drains the humanity out of a text [...] The stories of many different and potentially inarticulate people are more interesting than a contrived narrative that exists only in one articulate man's imagination."<ref name="Ray Carney pp. 65"/> He frequently filmed scenes in long, uninterrupted takes, explaining that:<blockquote>The drama of the scenes comes naturally from the real passage of time lived by the actors [...] The camera isn't content to just follow the characters' words and actions. I focus in on specific gestures and mannerisms. It's from focusing on these little things — the moods, silences, pauses, or anxious moments —that the form arises.<ref>Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: pp. 288.</ref></blockquote>

Cassavetes also said that he strove "to put [actors] in a position where they may make asses of themselves without feeling they're revealing things that will eventually be used against them."<ref>Gelmis, Joseph. "John Cassavetes", in ''The Film Director as Superstar''. London: Seckler & Warburg, 1971, p. 80.</ref>

The manner in which Cassavetes employed improvisation is frequently misunderstood: with the exception of the original version of ''Shadows'', his films were tightly scripted.<ref name="Ray Carney pp. 217">Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: pp. 217.</ref> However, he allowed actors to interpret characters in their own way, and often rewrote scripts based on the results of rehearsals and performances.<ref name="Ray Carney pp. 217">Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: pp. 217.</ref> He explained that "I believe in improvising on the basis of the written word and not on undisciplined creativity."<ref name="Ray Carney pp. 217">Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: pp. 217.</ref>

Cassavetes said: "The hardest thing for a film-maker, or a person like me, is to find people … who really want to do something … They've got to work on a project that's theirs."<ref>Gelmis, Joseph. "John Cassavetes". ''The Film Director as Superstar''. London: Seckler & Warburg, 1971. P. 79.</ref> This method differs greatly from the 'director run' sets of big-budget Hollywood productions.

According to Marshall Fine, "Cassavetes, who provided the impetus of what would become the independent film movement in America … spent the majority of his career making his films 'off the grid' so to speak … unfettered by the commercial concerns of Hollywood.{{sfn|Fine|page=99}} To make the kind of films he wanted to make, it was essential to work in this 'communal', 'off the grid' atmosphere because Hollywood's "basis is economic rather than political or philosophical",<ref>Powdermaker, Hortense. ''Hollywood: The Dream Factory''. Little, Brown and Company: Boston, 1950. P. 327.</ref> and no Hollywood executives were interested in Cassavetes's studies of human behaviour. He mortgaged his house to acquire the funds to shoot ''A Woman Under the Influence'', instead of seeking money from an investor who might try to change the script so as to make the film more marketable.

===Music===
Cassavetes was passionate about a wide range of music, from jazz to classical to rock, saying "I like all music. It makes you feel like living. Silence is death."<ref>André S. Labarthe and Hubert Knapp, {{YouTube|pcgWO-hxZls|''Cinéaste de notre temps: John Cassavetes''}}, 1968.</ref>

For the soundtrack of ''Shadows'', Cassavetes worked with jazz composer and musician [[Charles Mingus]] and [[Shafi Hadi]] to provide the score. Mingus's friend, Diane Dorr-Dorynek, described Cassavetes's approach to film-making in jazz terms:
<blockquote>
The script formed the skeleton around which the actors might change or ad lib lines according to their response to the situation at the moment, so that each performance was slightly different. A jazz musician works in this way, using a given musical skeleton and creating out of it, building a musical whole related to a particular moment by listening to and interacting with his fellow musicians. Jazz musicians working with actors could conceivably provide audiences with some of the most moving and alive theater they have ever experienced.<ref>Diane Dorr-Dorynek, Liner notes to the Charles Mingus album, ''[[Ah Um]]'' (1959), as reprinted in Brian L. Knight's [http://vermontreview.tripod.com/Jazz/Mingus.htm ''Four by Mingus''].</ref></blockquote>

When asked by [[André S. Labarthe]] during the making of ''Faces'' whether he had the desire to make a [[musical film]], Cassavetes responded he wanted to make only one musical, [[Dostoyevsky]]'s ''[[Crime and Punishment]]''.<ref>{{YouTube|pcgWO-hxZls|''Cineaste de notre temps''}}, 1968.</ref>

Cassavetes worked with [[Bo Harwood]] from 1970 to 1984 on six films in several different capacities, even though Harwood had initially only signed on to do "a little editing" for ''Husbands'', and "a little sound editing" for ''[[Minnie and Moskowitz]]''. Harwood composed poignant music for Cassavetes's following three films, and was also credited as "[[Sound design#Film|Sound]]" for two of them. During these projects, Harwood wrote several songs, some with Cassavetes.<ref>Ray Carney, ''Cassavetes on Cassavetes,'' London: [[Faber and Faber]], 2001: p. 349.</ref>

During his work with Cassavetes, Harwood claimed the notoriously unpredictable director preferred to use the "scratch track" version of his compositions, rather than to let Harwood refine and re-record them with an orchestra. Some of these scratch tracks were recorded in Cassavetes's office, with piano or guitar, as demos, and then eventually ended up in the final film. While this matched the raw, unpolished feel that marks most of Cassavetes's films, Harwood was sometimes surprised and embarrassed.<ref>Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: pp. 349–350.</ref>

The relationship between Harwood and Cassavetes ended amicably. When asked by documentarian Michael Ventura during the making of Cassavetes's last film ''[[Love Streams (film)|Love Streams]]'', what he had learned from working with Cassavetes, Harwood replied:
<blockquote>I learned a lot through John. I've done a lot of editing for him. [[film editing|Picture editing]], sound editing, music editing, [[sound engineering|shot sound]], composed score, and I've learned a lot about integrity ... I think you know what I mean. You know, thirty years from now, I can say I rode with [[Billy the Kid]].<ref>Michael Ventura, {{YouTube|55hiwOeF5EM|''I'm Almost Not Crazy:John Cassavetes—the Man and His Work''}}, 1984.</ref></blockquote>

==Filmography==
{{main|John Cassavetes filmography}}

== Awards and nominations ==
{| class="wikitable"
|-
! Year
! Award
! Category
! Nominated work
! Result
! Ref.
|-
|1960 || [[Venice International Film Festival]] || Pasinetti Award || rowspan=3|''[[Shadows (1959 film)|Shadows]]'' || {{nom}} || rowspan=23|<ref>{{cite web|url=https://www.tvguide.com/celebrities/john-cassavetes/bio/157807/|title= John Cassavetes|website= [[TV Guide]] | access-date= March 21, 2020}}</ref>
|-
|rowspan=2|[[14th British Academy Film Awards|1960]] || rowspan=2|[[British Academy Film Awards]] || [[BAFTA Award for Best Film|Best Film]] || {{nom}}
|-
|Un Award || {{nom}}
|-
|[[40th Academy Awards|1967]] || [[Academy Awards]] || [[Academy Award for Best Supporting Actor|Best Supporting Actor]] || rowspan=2|''[[The Dirty Dozen]]'' || {{nom}}
|-
|[[25th Golden Globe Awards|1968]] || [[Golden Globes]] || [[Golden Globe Award for Best Supporting Actor - Motion Picture|Best Supporting Actor]] || {{nom}}
|-
|[[41st Academy Awards|1968]] || [[Academy Awards]] || [[Academy Award for Best Original Screenplay|Best Original Screenplay]] || rowspan=6|''[[Faces (1968 film)|Faces]]'' || {{nom}}
|-
|rowspan=2|[[29th Venice International Film Festival|1968]] || rowspan=2|[[Venice International Film Festival]] || Pasinetti Award || {{won}}
|-
|[[Golden Lion]] || {{nom}}
|-
|1969 || [[Writers Guild of America]] || [[Writers Guild of America Award for Best Original Screenplay|Best Original Screenplay]] || {{nom}}
|-
|[[1968 National Society of Film Critics Awards|1969]] || [[National Society of Film Critics]] || [[National Society of Film Critics Award for Best Screenplay|Best Screenplay]] || {{won}}
|-
|[[1968 New York Film Critics Circle Awards|1969]] || [[New York Film Critics Circle]] || [[New York Film Critics Circle Award for Best Director|Best Director]] || {{nom}}
|-
|1973 || [[Writers Guild of America]] || [[Writers Guild of America Award for Best Original Screenplay|Best Original Screenplay]] || ''[[Minnie and Moskowitz]]'' || {{nom}}
|-
|[[47th Academy Awards|1974]] || [[Academy Awards]] || [[Academy Award for Best Director|Best Director]] || rowspan=4|''[[A Woman Under the Influence]]'' || {{nom}}
|-
|rowspan=2|[[32nd Golden Globe Awards|1974]] || rowspan=2|[[Golden Globe Awards]] || [[Golden Globe Award for Best Director|Best Director]] || {{nom}}
|-
|[[Golden Globe Award for Best Screenplay|Best Screenplay]] || {{nom}}
|-
|1975 || [[Writers Guild of America]] || [[Writers Guild of America Award for Best Original Screenplay|Best Original Screenplay]] || {{nom}}
|-
|1978 || [[Berlin International Film Festival]] || [[Golden Bear]] || ''[[Opening Night (1977 film)|Opening Night]]'' || {{nom}}
|-
|rowspan=2|[[37th Venice International Film Festival|1980]] || rowspan=2|[[Venice Film Festival]] || [[Golden Lion]] || rowspan=2|''[[Gloria (1980 film)|Gloria]]'' || {{won}}
|-
|Honorable Mention || {{won}}
|-
|[[32nd Primetime Emmy Awards|1980]] || [[Primetime Emmy Award]] || [[Primetime Emmy Award for Outstanding Supporting Actor in a Limited Series or Movie|Supporting Actor - Miniseries]] || ''Flesh & Blood'' || {{nom}}
|-
|rowspan=2|[[34th Berlin International Film Festival|1984]] || rowspan=2|[[Berlin International Film Festival]] || [[Golden Bear]] || rowspan=2|''[[Love Streams (film)|Love Streams]]'' || {{won}}
|-
|[[International Federation of Film Critics|FIPRESCI Award]] || {{won}}
|-
|[[1986 Los Angeles Film Critics Association Awards|1986]] || [[Los Angeles Film Critics Association]] || Lifetime Achievement Award || John Cassavetes || {{won}}
|-
|}

{{Portal bar|Biography|New York City|Greece|New Jersey|New York (state)|California|Film|Television}}

==Notes==
{{notes}}

==References==
{{reflist|30em}}

==Further reading==
* [[Ray Carney]]. ''The Films of John Cassavetes: Pragmatism, Modernism, and the Movies''. Cambridge: [[Cambridge University Press]], 1994.
* Ray Carney. ''Cassavetes on Cassavetes''. London: [[Faber and Faber]], 2001.
* Charles Warren, "Cavell, Altman and Cassavetes" in the Stanley Cavell special issue, Jeffrey Crouse (ed.) ''Film International'', Issue 22, Vol. 4, No. 4, 2006, pp. 14–20.

==External links==
{{commons category}}
* {{IMDb name|0001023}}
* {{IBDB name}}
* [https://www.criterion.com/shop/collection/135-john-cassavetes The Criterion Collection]
* [https://web.archive.org/web/20060220011132/http://www.filbert.net/cassavetes.htm ''Playboy Magazine'' interview (07/1971)]
* [http://www.virtual-history.com/movie/person/2639/john-cassavetes Literature on John Cassavetes]

{{John Cassavetes}}
{{National Society of Film Critics Award for Best Screenplay}}

{{Authority control}}

{{reflist|group=nb}}

{{DEFAULTSORT:Cassavetes, John}}
[[Category:John Cassavetes| ]]
[[Category:1929 births]]
[[Category:1989 deaths]]
[[Category:American male film actors]]
[[Category:American male screenwriters]]
[[Category:Burials at Westwood Village Memorial Park Cemetery]]
[[Category:Deaths from cirrhosis]]
[[Category:Disease-related deaths in California]]
[[Category:American people of Aromanian descent]]
[[Category:American writers of Greek descent]]
[[Category:People from Long Island]]
[[Category:Blair Academy alumni]]
[[Category:Cassavetes family|John]]
[[Category:Film directors from New York City]]
[[Category:American film producers]]
[[Category:20th-century American male actors]]
[[Category:Screenwriters from New York (state)]]
[[Category:Alcohol-related deaths in California]]
[[Category:Directors of Golden Bear winners]]
[[Category:Directors of Golden Lion winners]]
[[Category:20th-century American male writers]]

John Cassavetes

2021-01-04T17:23:21Z

Invulgo: /* Death */ Added reference to Cassavetes' alcoholism as discussed in The Guardian amongst others

{{short description|Greek-American actor, film director, and screenwriter (1929-1989)}}
{{Use mdy dates|date=October 2013}}
{{Infobox person
| name = John Cassavetes
| image = John Cassavetes Johnny Staccato 1959.jpg
| caption = John Cassavetes as ''[[Johnny Staccato]]'' (1959)
| birth_name = John Nicholas Cassavetes
| birth_date = {{Birth date|1929|12|9|mf=y}}
| birth_place = [[New York City]], [[New York (state)|New York]], U.S.
| death_date = {{Death date and age|1989|2|3|1929|12|9|mf=y}}
| death_place = [[Los Angeles]], [[California]], U.S.
| resting_place = [[Westwood Village Memorial Park Cemetery]]
| nationality = American
| education = [[Blair Academy]]
| alma_mater = [[American Academy of Dramatic Arts]]
| occupation = {{flatlist|
* Actor
* filmmaker}}
| years_active = 1951–1989
| spouse = {{marriage|[[Gena Rowlands]]|1954}}
| children = {{flatlist|
* [[Nick Cassavetes|Nick]]
* [[Alexandra Cassavetes|Alexandra]]
* [[Zoe Cassavetes|Zoe]]}}
| parents = [[Katherine Cassavetes]]
}}

'''John Nicholas Cassavetes''' ([[Greek language|Greek]]: Ιωάννης Νικόλαος Κασσαβέτης, {{IPAc-en|ˌ|k|æ|s|ə|ˈ|v|ɛ|t|iː|z}};<ref>{{Cite web|url=https://www.youtube.com/watch?v=cTLedTEs4lY|title=Martin Scorsese on John Cassavetes}}</ref> December 9, 1929 – February 3, 1989) was an American actor, film director, and screenwriter.<ref>{{Cite news |url=https://www.theguardian.com/film/2007/jun/08/3 |title=Message in a bottle |last=Sutherland |first=John |date=June 7, 2007 |newspaper=[[The Guardian]] |archive-url=https://web.archive.org/web/20140419140702/http://www.theguardian.com/film/2007/jun/08/3 |archive-date=April 19, 2014 |url-status=live |quote=Cassavetes was a second generation American-Greek, and he had a long and fruitful relationship with the actor Ben Gazzara – one of the first of his profession to parade his immigrant origins with an unchanged, aggressively "wop", professional name. Long before David Chase (né "de Caesare"), Cassavetes and Gazzara investigated ethnic edginess.}}</ref> First known as an actor on television and in film, Cassavetes also became a pioneer of American [[Independent film|independent cinema]], writing and directing movies financed in part with income from his acting work.<ref>{{Cite web|url=http://www.bfi.org.uk/news-opinion/news-bfi/features/john-gena-dynamite-screen|title=John + Gena: dynamite on screen and off|website=British Film Institute|access-date=2016-05-21}}</ref> [[AllMovie]] called him "an iconoclastic maverick,"<ref name="auto">Ankeny, Jason. [https://www.allmovie.com/artist/john-cassavetes-p84410 John Cassavetes]. ''[[AllMovie]]''.</ref> while ''[[The New Yorker]]'' suggested that he "may be the most influential American director of the last half century."<ref name="The New Yorker 2013, p. 17">''The New Yorker'', July 1, 2013, p. 17 "On the Horizon: Movies: Wild Man Blues July 6–31"</ref>

As an actor, Cassavetes starred in notable [[Hollywood]] films throughout the 1950s and 1960s, including ''[[Edge of the City]]'' (1957), ''[[The Dirty Dozen]]'' (1967), and ''[[Rosemary's Baby (film)|Rosemary's Baby]]'' (1968). He began his directing career with the 1959 independent feature ''[[Shadows (1959 film)|Shadows]]'' and followed with independent productions such as ''[[Faces (1968 film)|Faces]]'' (1968), ''[[Husbands (film)|Husbands]]'' (1970), ''[[A Woman Under the Influence]]'' (1974), ''[[Opening Night (1977 film)|Opening Night]]'' (1977), and ''[[Love Streams (film)|Love Streams]]'' (1984). He intermittently continued to work on studio projects such as [[Elaine May]]'s ''[[Mikey and Nicky]]'' (1976) and his own ''[[Gloria (1980 film)|Gloria]]'' (1980).

Cassavetes' films employed an actor-centered approach which privileged character examination and "small feelings" over traditional [[Hollywood]] storytelling or stylized production values. His films became associated with an improvisational, [[cinéma vérité]] aesthetic.<ref name="auto"/>{{refn|group=nb|Cassavetes's use of improvisation is often misunderstood; his films were almost entirely scripted, but he neglected to dictate his actors' deliveries, allowing them to develop their own interpretations of the lines. Additionally, he frequently rewrote scripts based on rehearsals and actor suggestions.<ref name="Ray Carney pp. 217">Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: pp. 217.</ref>}} He collaborated frequently with a rotating group of friends, crew members, and actors, including his wife [[Gena Rowlands]], [[Peter Falk]], [[Ben Gazzara]], and [[Seymour Cassel]]. Many of his films were shot and edited in his and Rowland's own Los Angeles home.

For his role in ''The Dirty Dozen'', Cassavetes received a nomination for the [[Academy Award for Best Supporting Actor]].<ref>{{Cite web|url=https://www.youtube.com/watch?v=M-Fe6nF5mcU|title=George Kennedy winning Best Supporting Actor-Oscars on YouTube}}</ref><ref>[https://www.oscars.org/oscars/ceremonies/1968 1968|Oscars.org]</ref> As a filmmaker, he was nominated for the [[Academy Award for Best Original Screenplay]] for ''Faces'' (1968)<ref>{{Cite web|url=https://www.youtube.com/watch?v=TcnSXEvzULk|title=Mel Brooks Wins Original Screenplay: 1969 Oscars}}</ref><ref>[https://www.oscars.org/oscars/ceremonies/1969 1969|Oscars.org]</ref>
and the [[Academy Award for Best Director]] for ''A Woman Under the Influence'' (1974).<ref>{{Cite web|url=https://www.youtube.com/watch?v=VcFwUo_cGiw|title=Francis Ford Coppola Wins Best Director: 1975 Oscars}}</ref><ref>{{Cite web|url=https://www.youtube.com/watch?v=o-wRzEoMqJg|title=Ellen Burstyn Wins Best Actress: 1975 Oscars}}</ref> The [[Independent Spirit Awards]] named the [[Independent Spirit John Cassavetes Award|John Cassavetes Award]] in his honor.

==Early life==
Cassavetes was born in New York City, the son of [[Greek American]] actress [[Katherine Cassavetes]] (née Demetre), who was to be featured in some of his films, and [[Greeks|Greek]] immigrant Nicholas John Cassavetes ([[Greek language|Greek]]: Νικόλαος Ιωάννης Κασσαβέτης), who was born in [[Larissa]] to [[Aromanians|Aromanian]] parents from the village of [[Vrysochori]]. Members of the Cassavetes family later settled in [[Volos]] and [[Zagora, Greece|Zagora]]. His early years were spent with his family in Greece; when he returned at age seven, he spoke no English.<ref>Ventura, Michael. 2007. ''Cassavetes Directs: John Cassavetes and the Making of Love Streams'', {{ISBN|1-84243-228-1}}; p. 176</ref> He was raised on [[Long Island]], [[New York (state)|New York]]. He attended Port Washington High School from 1945 to 1947 and participated in ''Port Weekly'' (the school paper), ''Red Domino'' (interclass play), football, and the ''Port Light'' (yearbook).

Cassavetes attended [[Blair Academy]] in [[New Jersey]] and spent a semester at [[Plattsburgh (town), New York|Plattsburgh, New York's]] Champlain College before being expelled due to his failing grades.<ref>{{cite book |last=Fine |first=Marshall |date=2005 |title=Accidental Genius: How John Cassavetes Invented the American Independent Film |url=https://books.google.com/books?id=aLMcAQAAIAAJ&q=%22champlain+college%22 |location=New York, NY |publisher=Miramax Books |pages=4, 10, 16 |isbn=978-1-4013-5249-3 |via=[[Google Books]] |ref={{sfnRef|Fine|pages=4, 10, 16}}}}</ref>{{efn|Cassavetes attended the Champlain College that began as a higher education facility for World War II veterans.<ref name="LostColleges">{{cite web |url=https://www.lostcolleges.com/associated-colleges-of-upper-new-york |title=Champlain College, Plattsburgh, New York, 1946-1953 |website=Associated Colleges of Upper New York, Hobart, Plattsburgh, and Utica, NY |publisher=Lost Colleges.com |access-date=September 28, 2020}}</ref> It operated at the former [[Old Stone Barracks|Plattsburgh Barracks]] from 1946 to 1953, and closed when the U.S. military reclaimed the site for use as part of [[Plattsburgh Air Force Base]].<ref name="LostColleges"/> He did not attend the [[Champlain College]] that is located in [[Burlington, Vermont]].{{sfn|Fine|pages=4, 10, 16}}}} He spent a few weeks hitchhiking to Florida and then transferred to the [[American Academy of Dramatic Arts]], encouraged by recently enrolled friends who told him the school was "packed with girls".<ref>"A Constant Forge documentary", 2000. Written and directed by Charles Kiselyak</ref> He graduated in 1950 and met his future wife [[Gena Rowlands]] at her audition to enter the Academy<ref>{{cite news | url=http://www.hollywoodreporter.com/race/gena-rowlands-i-never-wanted-762462 | title= The Hollywood Reporter Interview with Gena Rowlands | date= March 29, 2015}}</ref> in 1953. They were married four months later in 1954.<ref>"A Constant Forge" documentary, 2000. Written and directed by Charles Kiselyak</ref> He continued acting in the theater, took small parts in films and began working on television in [[anthology series]], such as ''[[Alcoa Theatre]]''.

==Middle years==

===Acting workshop and ''Shadows''===
By 1956, Cassavetes had begun teaching an alternative to [[method acting]] in his own workshop—co-founded with friend Burt Lane in New York City—in which character creation, rather than backstory or narrative requirements, would serve as the basis for performance.<ref name="Ray Carney pp. 52-53">Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: pp. 52-53.</ref> Cassavetes was particularly scornful of [[Lee Strasberg]]'s Method-based [[Actors Studio]], believing that the Method was "more a form of psychotherapy than of acting" which resulted in sentimental cliches and self-indulgent emotion.<ref name="Ray Carney pp. 52-53"/> In contrast to the Actors Studio's "moody, broody anguish," the Cassavetes-Lane approach held that acting should be an expression of creative joy and exuberance, with emphasis put on the character's creation of "masks" in the process of interacting with other characters.<ref name="Ray Carney pp. 52-53"/>

Shortly after opening the workshop, Cassavetes was invited to audition at the Actors Studio, and in response he and Lane devised a prank: they claimed to be performing a scene from a recent stage production but in fact improvised a performance on the spot, fooling an impressed Strasberg.<ref name="Ray Carney pp. 52-53"/> Cassavetes then fabricated a story about his financial troubles, prompting Strasberg to offer him a full scholarship to the Studio; Cassavetes promptly rejected it on the basis that Strasberg couldn't know anything about acting to have been so easily fooled by the two ruses.<ref name="Ray Carney pp. 52-53"/>

An [[improvisation]] exercise in the workshop inspired the idea for his writing and directorial debut, ''[[Shadows (1959 film)|Shadows]]'' (1959; first version 1957). Cassavetes raised the funds for the production from friends and family, as well as listeners to [[Jean Shepherd]]'s late-night radio talk-show ''Night People''. His stated purpose was to make a film about modest-income “little people”, unlike Hollywood studio productions, which focused on stories about wealthy people. Cassavetes was unable to gain American distribution of ''Shadows'', but it won the Critics Award at the [[Venice Film Festival]]. European distributors later released the movie in the United States as an import. Although the box-office returns of ''Shadows'' in the United States were slight, it did gain attention from the Hollywood studios.

=== Television and acting jobs ===
[[File:John Cassavetes Gena Rowlands Johnny Staccato 1959.JPG|thumb|left|Cassavetes with his wife, actress [[Gena Rowlands]] in 1959]][[File:John Cassavetes Edge of the City trailer 1957.jpg|thumb|right|220x220px|A still from the ''Edge of the City'' trailer]]
Cassavetes played bit-parts in [[B movie|B pictures]] and in television serials, until gaining notoriety in 1955 as a vicious killer in ''[[The Night Holds Terror]],'' and as a juvenile delinquent in the live TV drama ''[[Crime in the Streets]]''. Cassavetes would repeat this performance in the 1956 film version. His first starring role in a feature film was ''[[Edge of the City]]'' (1957), which co-starred [[Sidney Poitier]]. He was briefly under contract to [[Metro-Goldwyn-Mayer]] and co-starred with [[Robert Taylor (actor)|Robert Taylor]] in the western ''[[Saddle the Wind]]'', written by [[Rod Serling]]. In the late 1950s, Cassavetes guest-starred in [[Beverly Garland]]'s groundbreaking [[Crime film#Crime drama|crime drama]], ''[[Decoy (TV series)|Decoy]]'', about a New York City woman police undercover detective. Thereafter, he played [[Johnny Staccato]], the title character in a television series about a jazz pianist who also worked as a private detective. In total he directed five episodes of the series, which also features a guest appearance by his wife [[Gena Rowlands]]. It was broadcast on [[NBC]] between September 1959 and March 1960 when it was acquired by [[American Broadcasting Company|ABC]] and although critically acclaimed, the series was cancelled in September 1960. Cassavetes would appear on the NBC interview program, ''[[Here's Hollywood]]''.

In 1961 Cassavetes signed a seven-year deal with Paramount.<ref>Cassavetes Signs Seven-Year Pact: Will Direct Sidney Poitier; Elvis on Movies, Cooking Hopper, Hedda. Los Angeles Times 19 May 1961: B8.</ref> Cassavetes directed two movies for Hollywood in the early 1960s – ''[[Too Late Blues]]'' (1961) and ''[[A Child Is Waiting]] (1963)''. ''A Child Is Waiting (1963)'' starred [[Burt Lancaster]] and [[Judy Garland]]. He also starred in the CBS western series ''[[Rawhide (TV series)|Rawhide]],'' in the episode "Incident Near Gloomy River" (1961). In the 1963–1964 season he was cast in the ABC [[medical drama]] about [[psychiatry]], ''[[Breaking Point (1963 TV series)|Breaking Point]]''. In 1964, he again co-starred with his wife, this time in an episode of ''[[List of Alfred Hitchcock Presents episodes|The Alfred Hitchcock Hour]]'' anthology program, and in 1965, he appeared on ABC's western series, ''[[The Legend of Jesse James (TV series)|The Legend of Jesse James]]''. The same year he also guest-starred in the [[World War II]] series, ''[[Combat!]]'', in the episode "S.I.W." as well as insane nuclear scientist Everett Lang in ''[[Voyage to the Bottom of the Sea (TV series)|Voyage to the Bottom of the Sea]]'', season 2, episode "The Peacemaker".[[File:Cassavettes Farrow.jpg|thumb|219x219px|Cassavetes and [[Mia Farrow]] in ''[[Rosemary's Baby (film)|Rosemary's Baby]]'' (1968)]]With payment for his work on television, as well as a handful of film acting jobs, he was able to relocate to California and to make his subsequent films independent of any studio, as ''Shadows'' had been made. The films in which he acted with this intention include [[Don Siegel]]'s ''[[The Killers (1964 film)|The Killers]]'' (1964), the motorcycle gang movie ''Devil's Angels'' (1967), ''[[The Dirty Dozen]]'' (1967), for which he was nominated for an [[Academy Award for Best Supporting Actor]], [[Roman Polanski]]'s ''[[Rosemary's Baby (film)|Rosemary's Baby]]'' (1968), and ''[[The Fury (1978 film)|The Fury]]'' (1978). Cassavetes portrayed the murderer in a 1972 episode of the TV crime series ''[[Columbo]]'', titled "Étude in Black". Cassavetes and series star [[Peter Falk]] had previously starred together in the 1969 mob action thriller ''[[Machine Gun McCain]]''.

=== ''Faces International'' films===
''[[Faces (1968 film)|Faces]]'' (1968) was the second film to be both directed and independently financed by Cassavetes. The film starred his wife [[Gena Rowlands]], whom he had married during his struggling actor days, [[John Marley]], [[Seymour Cassel]] and [[Val Avery]], as well as several first time actors, such as lead actress [[Lynn Carlin]]. It depicts the slow disintegration of a contemporary marriage. The film reportedly took three years to make, and was made largely in the Cassavetes home. ''Faces'' was nominated for three Academy Awards: [[Academy Award for Writing Original Screenplay|Best Original Screenplay]],<ref>{{Cite web|url=https://www.oscars.org/oscars/ceremonies/1969|title=The 41st Academy Awards | 1969|website=Oscars.org | Academy of Motion Picture Arts and Sciences}}</ref> [[Academy Award for Best Supporting Actor|Best Supporting Actor]],<ref>{{Cite web|url=https://www.youtube.com/watch?v=nVYZeZUKvv0|title=Jack Albertson Win Supporting Actor:1969 Oscars}}</ref> and
[[Academy Award for Best Supporting Actress|Best Supporting Actress]].<ref>{{Cite web|url=https://www.youtube.com/watch?v=oxsLNhH0yjA|title=Ruth Gordon Wins Supporting Actress: 1969 Oscars}}</ref> Around this time, Cassavetes formed "Faces International" as a distribution company to handle all of his films.

In 1970, Cassavetes directed and acted in ''[[Husbands (film)|Husbands]]'', with actors [[Peter Falk]] and [[Ben Gazzara]]. They played a trio of married men on a spree in New York and London after the funeral of one of their best friends.<ref>{{Cite web|url=https://www.indiewire.com/2009/08/cinemadaily-cassavetes-husbands-on-dvd-today-70042/|title=cinemadaily | Cassavetes' "Husbands" On DVD Today|first1=Andy|last1=Lauer|date=August 18, 2009}}</ref> Cassavetes stated this was a personal film for him; his older brother died at the age of 30.<ref>{{cite web|url=http://www.tcm.com/tcmdb/title/4812/Husbands/|title=Husbands (1970) - Overview - TCM.com|publisher=[[Turner Classic Movies]]|access-date=February 14, 2020}}</ref>

''[[Minnie and Moskowitz]]'' (1971), about two unlikely lovers, featured Rowlands and Cassel. ''[[A Woman Under the Influence]]'' (1974) stars Rowlands as an increasingly troubled housewife. Rowlands received an Academy Award nomination for [[Academy Award for Best Actress|Best Actress]], while Cassavetes was nominated for [[Academy Award for Directing|Best Director]].<ref>{{Cite web|url=https://www.oscars.org/oscars/ceremonies/1975|title=The 47th Academy Awards | 1975|website=Oscars.org | Academy of Motion Picture Arts and Sciences}}</ref> In ''[[The Killing of a Chinese Bookie]]'' (1976), Gazzara plays a small-time strip-club owner with an out-of-control gambling habit, pressured by mobsters to commit a murder to pay off his debt.

''[[Opening Night (1977 film)|Opening Night]]'' (1977) Rowlands plays the lead alongside Cassavetes and the film also stars Gazzara and [[Joan Blondell]]. Rowlands portrays an aging film star named Myrtle Gordon working in the theater and suffering a personal crisis. Alone and unloved by her colleagues, in fear of aging and always removed from others due to her stardom, she succumbs to alcohol and hallucinations after witnessing the accidental death of a young fan. Ultimately, Gordon fights through it all delivering the performance of her life in a play. Rowlands won the [[Silver Bear for Best Actress]] at the [[28th Berlin International Film Festival]] for her performance.<ref name="berlinale">{{cite web |url=http://www.berlinale.de/en/archiv/jahresarchive/1978/03_preistr_ger_1978/03_Preistraeger_1978.html |title=Berlinale 1978: Prize Winners |access-date=August 8, 2010 |work=berlinale.de }}</ref>

== Last years ==
Cassavetes directed the film ''[[Gloria (1980 film)|Gloria]]'' (1980), featuring Rowlands as a Mob [[wikt:moll|moll]] who tries to protect an orphan boy whom the Mob wants to kill. Rowlands earned another Best Actress nomination for it.<ref>{{Cite web|url=https://www.youtube.com/watch?v=y0r7yq11OyU|title=Sissy Spacek Wins Best Actress: 1981 Oscars}}</ref><ref>{{Cite web|url=https://www.oscars.org/oscars/ceremonies/1981|title=The 53rd Academy Awards | 1981|website=Oscars.org | Academy of Motion Picture Arts and Sciences}}</ref> In 1982, Cassavetes starred in [[Paul Mazursky]]'s ''[[Tempest (1982 film)|Tempest]],'' which co-starred Rowlands, [[Susan Sarandon]], [[Molly Ringwald]], [[Raúl Juliá]] and [[Vittorio Gassman]].

Cassavetes penned the stage play ''Knives'', the earliest version of which he allowed to be published in the 1978 premiere issue of ''On Stage'', the quarterly magazine of the American Community Theatre Association, a division of the American Theatre Association.<ref>{{cite journal|last1=Cassavetes|first1=John|editor1-last=Bayshore|editor1-first=Irenedianna|title=Knives|journal=On Stage|date=1978|issue=premiere issue|pages=21–47|publisher=American Community Theatre Association|language=en|postscript=journal 1978 Institute for Dramatic Research, Fullerton, California.}}</ref> The play was produced and directed as one of his ''Three Plays of Love and Hate'' at Hollywood, California's Center Theater in 1981. The trio of plays included versions of Canadian playwright [[Ted Allan]]'s ''The Third Day Comes'' and ''Love Streams,'' the latter of which served as the blueprint for Cassavetes's 1984 film of the same name.<ref>{{cite web|last1=Linden|first1=Sheri|title=John Cassavetes 'Three Plays of Love and Hate'|url=http://cassavetesevent.com/wp/?page_id=1062|website=cassevetesevent.com|publisher=Steve Reisch|access-date=24 August 2017}}</ref>

Cassavetes made the [[Cannon Films]]-financed<ref>{{Cite web|url=https://www.vulture.com/2015/10/cannon-box-set-best-of-moments.html|title=Cannon Films: A 10-Part Appreciation of the Studio That Revolutionized 'So Bad, It's Good' Movies|website=Vulture}}</ref><ref>{{Cite web|url=https://consequenceofsound.net/2016/02/the-cannon-canon-the-top-20-cannon-films/|title=The Cannon Canon: The Top 20 Cannon Films|date=February 21, 2016}}</ref> ''[[Love Streams (film)|Love Streams]]'' (1984), which featured him as an aging playboy who suffers the overbearing affection of his recently divorced sister. It was entered into the [[34th Berlin International Film Festival]] where it won the [[Golden Bear]].<ref name="Berlinale 1984">{{cite web |url=http://www.berlinale.de/en/archiv/jahresarchive/1984/03_preistr_ger_1984/03_Preistraeger_1984.html |title=Berlinale: 1984 Winners |access-date=January 4, 2011 |work=berlinale.de }}</ref> The film is often considered Cassavetes's "last film" in that it brought together many aspects of his previous films. He despised the film ''[[Big Trouble (1986 film)|Big Trouble]]'' (1986), which he took over during filming from [[Andrew Bergman]], who wrote the original screenplay. Cassavetes came to refer to the film as "The aptly titled 'Big Trouble,'" since the studio vetoed many of his decisions for the film and eventually edited most of it in a way with which Cassavetes disagreed.<ref>Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: pp. 501–502.</ref>

In January 1987, Cassavetes was facing health problems, but he wrote the three-act play ''Woman of Mystery'' and brought it to the stage in May and June at the [[Royal Court Theatre|Court Theater]].<ref>Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: p. 506.</ref>

Cassavetes worked during the last year of his life to produce a last film that was to be titled ''She's Delovely''. He was in talks with [[Sean Penn]] to star, though legal and financial hurdles proved insurmountable and the project was forgotten about until after Cassavetes' death, when it was finally made as ''[[She's So Lovely]]'', directed by his son [[Nick Cassavetes]].<ref>Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: pp. 508–510.</ref>

==Death==
[[File:John Cassavetes grave at Westwood Village Memorial Park Cemetery in Brentwood, California.JPG|thumb|John Cassavetes's grave]]
A long-term alcoholic, <ref>https://www.theguardian.com/film/2007/jun/08/3</ref> Cassavetes died on February 3, 1989, at the age of 59, from complications of cirrhosis of the liver. He is buried at [[Westwood Village Memorial Park]] cemetery in Los Angeles.

At the time of his death, Cassavetes had amassed a collection of more than 40 unproduced screenplays, as well as a novel, ''Husbands''.<ref>Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: p. 503.</ref> He also left three unproduced plays: ''Sweet Talk'', ''Entrances and Exits'' and ''Begin the Beguine''. But ''Begin the Beguine'', in German translation, was co-produced by Needcompany of Belgium and Burgtheater of Vienna; it premiered on stage at Vienna's Akademietheater in 2014.<ref>{{cite web|last1=D.S.K.|title=Begin at last|url=https://www.economist.com/blogs/prospero/2015/01/john-cassavetes|website=The Economist|publisher=Economist Group|access-date=24 August 2017}}</ref><ref>{{cite web|title=World Premiere Begin the Beguine|url=https://www.facebook.com/events/653575871350103/?ref=5|website=Facebook events, Needcompany host|publisher=Facebook|access-date=24 August 2017}}</ref>

== Legacy ==
Cassavetes is the subject of several biographies. ''Cassavetes on Cassavetes'' is a collection of interviews collected or conducted by [[Boston University]] film scholar [[Ray Carney]], in which the filmmaker recalled his experiences, influences and outlook on the film industry. In the Oscar 2005 edition of ''[[Vanity Fair (magazine)|Vanity Fair]]'', one article features a tribute to Cassavetes by three members of his stock company, Rowlands, [[Ben Gazzara]] and [[Peter Falk]].

Many of Cassavetes's films are owned by Faces Distribution, a company overseen by Gena Rowlands and [[Julian Schlossberg]], distributed by Jumer Films (Schlossberg's own company), with additional sales and distribution by [[Janus Films]]. In September 2004 [[The Criterion Collection]] produced a [[DVD region code#Region codes and countries|Region 1]] DVD box set of his five independent films: ''Shadows'', ''Faces'', ''A Woman Under the Influence'', ''The Killing of a Chinese Bookie'' and ''Opening Night''. Also featured in the set is a documentary about the life and works of Cassavetes, ''A Constant Forge'', a booklet featuring critical assessments of the director's work and tributes by old friends. Criterion released a Blu-ray version of the set in October 2013. In 2005 a box set of the same films was released in [[DVD region code#Region codes and countries|Region 2]] by [[Optimum Releasing]]. The Optimum DVD of ''Shadows'' has a voice-over commentary by Seymour Cassel. Then, in 2014, the Faces/Jumer library became the property of [[Shout! Factory]], which acquired the films' holding parent company, Westchester Films.

Cassavetes's son [[Nick Cassavetes]] followed in his father's footsteps as an actor and director. In 1997, Nick Cassavetes made the film ''[[She's So Lovely]]'' from the ''She's Delovely'' screenplay his father had written. The film starred Sean Penn, as John Cassavetes had wanted. [[Alexandra Cassavetes]] directed the documentary ''[[Z Channel: A Magnificent Obsession]]'' in 2004, and in 2006 served as 2nd Unit Director on her brother Nick's film, ''[[Alpha Dog]]''. Cassavetes's younger daughter [[Zoe Cassavetes]] wrote and directed the 2007 film ''[[Broken English (2007 film)|Broken English]]'', featuring Rowlands and [[Parker Posey]].

''[[The New Yorker]]'' wrote that Cassavetes "may be the most influential American director of the last half century"—this in announcing that all the films he directed, plus others he acted in, were being screened in a retrospective tribute at the [[Brooklyn Academy of Music]] throughout July 2013.<ref name="The New Yorker 2013, p. 17"/>

The [[Film Independent Spirit Awards|Independent Spirit Awards]] named one of their categories after Cassavetes, the [[Independent Spirit John Cassavetes Award]].

A one-person show about John Cassavetes titled ''Independent'' <ref>{{Cite web|url=https://www.essentialtheatre.com/play/independent/|title=Essential Theatre presents: INDEPENDENT}}</ref> premiered at Essential Theatre in Atlanta in August 2017. The play was written by John D. Babcock III and starred actor Dan Triandiflou as Cassavetes.

The song "What's Yr Take on Cassavetes?" by the band [[Le Tigre]] is about John Cassavetes and questions whether he can be considered a feminist.<ref>{{Cite web|url=https://genius.com/Le-tigre-whats-yr-take-on-cassavetes-lyrics|title=Le Tigre – What's Yr Take on Cassavetes?|via=genius.com}}</ref>

The song "Cassavetes" by the band [[Fugazi]] parallels John Cassavetes' independence from the film industry with the band's own independence from the record industry.<ref>{{Cite book|title=Fugazi's In on the Kill Taker (33 1/3)|last=Gross|first=Joe|publisher=Bloomsbury Academic|year=2018|isbn=978-1-5013-2139-9|location=New York|pages=115}}</ref> In concert, singer [[Guy Picciotto]] introduced it as "a song about making your own road."<ref>{{Cite web|url=https://www.dischord.com/fugazi_live_series/new-york-city-ny-usa-92493|title=Fugazi Live Series: New York City, NY USA 9/24/93|website=www.dischord.com}}</ref>

==Filmmaking style==

===Directing===
Cassavetes's films aim to capture "small feelings" often repressed by Hollywood filmmaking, with emphasis placed on intimate character examination rather than plot, backstory, or stylization.<ref name="auto"/> He often presented difficult characters whose inner desires were not easily understood, rejecting simplistic psychological or narrative explanations for their behavior. Cassavetes also paid little attention to the "impressionistic cinematography, linear editing, and star-centred scene making" that are fashionable in Hollywood and art films.<ref>Bendedetto, Lucio. "Forging an Original Response: A Review of Cassavetes Criticism in English", ''Post Script'' V. 11 n. 2. (Winter 1992): 101.</ref> Instead, he worked to create a comfortable and informal environment where actors felt free to experiment with their performances and go beyond acting clichés or "programmed behaviors."<ref>Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: pp. 283.</ref>

Cassavetes also rejected the dominance of the director's singular vision, instead believing each character must be the actor's "individual creation" and refusing to explain the characters to his actors in any significant detail.<ref name="Ray Carney pp. 65">Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: pp. 65.</ref> He claimed that "stylistic unity drains the humanity out of a text [...] The stories of many different and potentially inarticulate people are more interesting than a contrived narrative that exists only in one articulate man's imagination."<ref name="Ray Carney pp. 65"/> He frequently filmed scenes in long, uninterrupted takes, explaining that:<blockquote>The drama of the scenes comes naturally from the real passage of time lived by the actors [...] The camera isn't content to just follow the characters' words and actions. I focus in on specific gestures and mannerisms. It's from focusing on these little things — the moods, silences, pauses, or anxious moments —that the form arises.<ref>Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: pp. 288.</ref></blockquote>

Cassavetes also said that he strove "to put [actors] in a position where they may make asses of themselves without feeling they're revealing things that will eventually be used against them."<ref>Gelmis, Joseph. "John Cassavetes", in ''The Film Director as Superstar''. London: Seckler & Warburg, 1971, p. 80.</ref>

The manner in which Cassavetes employed improvisation is frequently misunderstood: with the exception of the original version of ''Shadows'', his films were tightly scripted.<ref name="Ray Carney pp. 217">Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: pp. 217.</ref> However, he allowed actors to interpret characters in their own way, and often rewrote scripts based on the results of rehearsals and performances.<ref name="Ray Carney pp. 217">Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: pp. 217.</ref> He explained that "I believe in improvising on the basis of the written word and not on undisciplined creativity."<ref name="Ray Carney pp. 217">Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: pp. 217.</ref>

Cassavetes said: "The hardest thing for a film-maker, or a person like me, is to find people … who really want to do something … They've got to work on a project that's theirs."<ref>Gelmis, Joseph. "John Cassavetes". ''The Film Director as Superstar''. London: Seckler & Warburg, 1971. P. 79.</ref> This method differs greatly from the 'director run' sets of big-budget Hollywood productions.

According to Marshall Fine, "Cassavetes, who provided the impetus of what would become the independent film movement in America … spent the majority of his career making his films 'off the grid' so to speak … unfettered by the commercial concerns of Hollywood.{{sfn|Fine|page=99}} To make the kind of films he wanted to make, it was essential to work in this 'communal', 'off the grid' atmosphere because Hollywood's "basis is economic rather than political or philosophical",<ref>Powdermaker, Hortense. ''Hollywood: The Dream Factory''. Little, Brown and Company: Boston, 1950. P. 327.</ref> and no Hollywood executives were interested in Cassavetes's studies of human behaviour. He mortgaged his house to acquire the funds to shoot ''A Woman Under the Influence'', instead of seeking money from an investor who might try to change the script so as to make the film more marketable.

===Music===
Cassavetes was passionate about a wide range of music, from jazz to classical to rock, saying "I like all music. It makes you feel like living. Silence is death."<ref>André S. Labarthe and Hubert Knapp, {{YouTube|pcgWO-hxZls|''Cinéaste de notre temps: John Cassavetes''}}, 1968.</ref>

For the soundtrack of ''Shadows'', Cassavetes worked with jazz composer and musician [[Charles Mingus]] and [[Shafi Hadi]] to provide the score. Mingus's friend, Diane Dorr-Dorynek, described Cassavetes's approach to film-making in jazz terms:
<blockquote>
The script formed the skeleton around which the actors might change or ad lib lines according to their response to the situation at the moment, so that each performance was slightly different. A jazz musician works in this way, using a given musical skeleton and creating out of it, building a musical whole related to a particular moment by listening to and interacting with his fellow musicians. Jazz musicians working with actors could conceivably provide audiences with some of the most moving and alive theater they have ever experienced.<ref>Diane Dorr-Dorynek, Liner notes to the Charles Mingus album, ''[[Ah Um]]'' (1959), as reprinted in Brian L. Knight's [http://vermontreview.tripod.com/Jazz/Mingus.htm ''Four by Mingus''].</ref></blockquote>

When asked by [[André S. Labarthe]] during the making of ''Faces'' whether he had the desire to make a [[musical film]], Cassavetes responded he wanted to make only one musical, [[Dostoyevsky]]'s ''[[Crime and Punishment]]''.<ref>{{YouTube|pcgWO-hxZls|''Cineaste de notre temps''}}, 1968.</ref>

Cassavetes worked with [[Bo Harwood]] from 1970 to 1984 on six films in several different capacities, even though Harwood had initially only signed on to do "a little editing" for ''Husbands'', and "a little sound editing" for ''[[Minnie and Moskowitz]]''. Harwood composed poignant music for Cassavetes's following three films, and was also credited as "[[Sound design#Film|Sound]]" for two of them. During these projects, Harwood wrote several songs, some with Cassavetes.<ref>Ray Carney, ''Cassavetes on Cassavetes,'' London: [[Faber and Faber]], 2001: p. 349.</ref>

During his work with Cassavetes, Harwood claimed the notoriously unpredictable director preferred to use the "scratch track" version of his compositions, rather than to let Harwood refine and re-record them with an orchestra. Some of these scratch tracks were recorded in Cassavetes's office, with piano or guitar, as demos, and then eventually ended up in the final film. While this matched the raw, unpolished feel that marks most of Cassavetes's films, Harwood was sometimes surprised and embarrassed.<ref>Ray Carney, ''Cassavetes on Cassavetes'', London: [[Faber and Faber]], 2001: pp. 349–350.</ref>

The relationship between Harwood and Cassavetes ended amicably. When asked by documentarian Michael Ventura during the making of Cassavetes's last film ''[[Love Streams (film)|Love Streams]]'', what he had learned from working with Cassavetes, Harwood replied:
<blockquote>I learned a lot through John. I've done a lot of editing for him. [[film editing|Picture editing]], sound editing, music editing, [[sound engineering|shot sound]], composed score, and I've learned a lot about integrity ... I think you know what I mean. You know, thirty years from now, I can say I rode with [[Billy the Kid]].<ref>Michael Ventura, {{YouTube|55hiwOeF5EM|''I'm Almost Not Crazy:John Cassavetes—the Man and His Work''}}, 1984.</ref></blockquote>

==Filmography==
{{main|John Cassavetes filmography}}

== Awards and nominations ==
{| class="wikitable"
|-
! Year
! Award
! Category
! Nominated work
! Result
! Ref.
|-
|1960 || [[Venice International Film Festival]] || Pasinetti Award || rowspan=3|''[[Shadows (1959 film)|Shadows]]'' || {{nom}} || rowspan=23|<ref>{{cite web|url=https://www.tvguide.com/celebrities/john-cassavetes/bio/157807/|title= John Cassavetes|website= [[TV Guide]] | access-date= March 21, 2020}}</ref>
|-
|rowspan=2|[[14th British Academy Film Awards|1960]] || rowspan=2|[[British Academy Film Awards]] || [[BAFTA Award for Best Film|Best Film]] || {{nom}}
|-
|Un Award || {{nom}}
|-
|[[40th Academy Awards|1967]] || [[Academy Awards]] || [[Academy Award for Best Supporting Actor|Best Supporting Actor]] || rowspan=2|''[[The Dirty Dozen]]'' || {{nom}}
|-
|[[25th Golden Globe Awards|1968]] || [[Golden Globes]] || [[Golden Globe Award for Best Supporting Actor - Motion Picture|Best Supporting Actor]] || {{nom}}
|-
|[[41st Academy Awards|1968]] || [[Academy Awards]] || [[Academy Award for Best Original Screenplay|Best Original Screenplay]] || rowspan=6|''[[Faces (1968 film)|Faces]]'' || {{nom}}
|-
|rowspan=2|[[29th Venice International Film Festival|1968]] || rowspan=2|[[Venice International Film Festival]] || Pasinetti Award || {{won}}
|-
|[[Golden Lion]] || {{nom}}
|-
|1969 || [[Writers Guild of America]] || [[Writers Guild of America Award for Best Original Screenplay|Best Original Screenplay]] || {{nom}}
|-
|[[1968 National Society of Film Critics Awards|1969]] || [[National Society of Film Critics]] || [[National Society of Film Critics Award for Best Screenplay|Best Screenplay]] || {{won}}
|-
|[[1968 New York Film Critics Circle Awards|1969]] || [[New York Film Critics Circle]] || [[New York Film Critics Circle Award for Best Director|Best Director]] || {{nom}}
|-
|1973 || [[Writers Guild of America]] || [[Writers Guild of America Award for Best Original Screenplay|Best Original Screenplay]] || ''[[Minnie and Moskowitz]]'' || {{nom}}
|-
|[[47th Academy Awards|1974]] || [[Academy Awards]] || [[Academy Award for Best Director|Best Director]] || rowspan=4|''[[A Woman Under the Influence]]'' || {{nom}}
|-
|rowspan=2|[[32nd Golden Globe Awards|1974]] || rowspan=2|[[Golden Globe Awards]] || [[Golden Globe Award for Best Director|Best Director]] || {{nom}}
|-
|[[Golden Globe Award for Best Screenplay|Best Screenplay]] || {{nom}}
|-
|1975 || [[Writers Guild of America]] || [[Writers Guild of America Award for Best Original Screenplay|Best Original Screenplay]] || {{nom}}
|-
|1978 || [[Berlin International Film Festival]] || [[Golden Bear]] || ''[[Opening Night (1977 film)|Opening Night]]'' || {{nom}}
|-
|rowspan=2|[[37th Venice International Film Festival|1980]] || rowspan=2|[[Venice Film Festival]] || [[Golden Lion]] || rowspan=2|''[[Gloria (1980 film)|Gloria]]'' || {{won}}
|-
|Honorable Mention || {{won}}
|-
|[[32nd Primetime Emmy Awards|1980]] || [[Primetime Emmy Award]] || [[Primetime Emmy Award for Outstanding Supporting Actor in a Limited Series or Movie|Supporting Actor - Miniseries]] || ''Flesh & Blood'' || {{nom}}
|-
|rowspan=2|[[34th Berlin International Film Festival|1984]] || rowspan=2|[[Berlin International Film Festival]] || [[Golden Bear]] || rowspan=2|''[[Love Streams (film)|Love Streams]]'' || {{won}}
|-
|[[International Federation of Film Critics|FIPRESCI Award]] || {{won}}
|-
|[[1986 Los Angeles Film Critics Association Awards|1986]] || [[Los Angeles Film Critics Association]] || Lifetime Achievement Award || John Cassavetes || {{won}}
|-
|}

{{Portal bar|Biography|New York City|Greece|New Jersey|New York (state)|California|Film|Television}}

==Notes==
{{notes}}

==References==
{{reflist|30em}}

==Further reading==
* [[Ray Carney]]. ''The Films of John Cassavetes: Pragmatism, Modernism, and the Movies''. Cambridge: [[Cambridge University Press]], 1994.
* Ray Carney. ''Cassavetes on Cassavetes''. London: [[Faber and Faber]], 2001.
* Charles Warren, "Cavell, Altman and Cassavetes" in the Stanley Cavell special issue, Jeffrey Crouse (ed.) ''Film International'', Issue 22, Vol. 4, No. 4, 2006, pp. 14–20.

==External links==
{{commons category}}
* {{IMDb name|0001023}}
* {{IBDB name}}
* [https://www.criterion.com/shop/collection/135-john-cassavetes The Criterion Collection]
* [https://web.archive.org/web/20060220011132/http://www.filbert.net/cassavetes.htm ''Playboy Magazine'' interview (07/1971)]
* [http://www.virtual-history.com/movie/person/2639/john-cassavetes Literature on John Cassavetes]

{{John Cassavetes}}
{{National Society of Film Critics Award for Best Screenplay}}

{{Authority control}}

{{reflist|group=nb}}

{{DEFAULTSORT:Cassavetes, John}}
[[Category:John Cassavetes| ]]
[[Category:1929 births]]
[[Category:1989 deaths]]
[[Category:American male film actors]]
[[Category:American male screenwriters]]
[[Category:Burials at Westwood Village Memorial Park Cemetery]]
[[Category:Deaths from cirrhosis]]
[[Category:Disease-related deaths in California]]
[[Category:American people of Aromanian descent]]
[[Category:American writers of Greek descent]]
[[Category:People from Long Island]]
[[Category:Blair Academy alumni]]
[[Category:Cassavetes family|John]]
[[Category:Film directors from New York City]]
[[Category:American film producers]]
[[Category:20th-century American male actors]]
[[Category:Screenwriters from New York (state)]]
[[Category:Alcohol-related deaths in California]]
[[Category:Directors of Golden Bear winners]]
[[Category:Directors of Golden Lion winners]]
[[Category:20th-century American male writers]]

Un chant d'amour

2020-12-28T06:28:57Z

Invulgo: /* Cast */ Clarified and expanded roles with information from IMBd and DVD cover

{{About|the Jean Genet film|other uses|Song of Love (disambiguation)}}
{{Infobox film
| name = Un chant d'amour
| image = Un_chant_d_amour.jpg
| image_size =
| alt =
| caption =
| director = [[Jean Genet]]
| producer = [[Nico Papatakis]]
| writer = Jean Genet
| starring = Java [[André Reybaz]]
| music = [[Gavin Bryars]] (1973) [[Patrick Nunn]] (1996) [[Simon Fisher-Turner]] (2003)
| cinematography = [[Jean Cocteau]]
| editing =
| distributor = Connoisseur Video
| released = 1950
| runtime = 26 min.
| country = France
| language = No dialogue
| budget =
}}

'''''Un chant d'amour''''' ({{IPA-fr|œ̃ ʃɑ̃ damuʁ}}; English: '''''A Song of Love''''') is [[France|French]] writer [[Jean Genet]]'s only film, which he directed in 1950.<ref>{{cite web |url=http://www.moma.org/explore/inside_out/2013/03/26/jean-genets-a-song-of-love-and-jean-cocteaus-testament-of-orpheus/ |title=MoMA <nowiki>|</nowiki> Jean Genet's ''A Song of Love'' and Jean Cocteau's ''Testament of Orpheus'' |last=Silver |first=Charles |date=26 March 2013 |website=[[Museum of Modern Art|MoMA]] |accessdate=26 December 2014}}</ref> Because of its explicit (though artistically presented) homosexual content, the 26-minute movie was long banned.

== Plot ==
The plot is set in a French prison, where a prison guard takes [[voyeurism|voyeuristic]] pleasure in observing the prisoners perform masturbatory sexual acts. In two adjacent cells, there is an older [[Algerian people|Algerian]]-looking man and a tattooed convict in his twenties. The older man is in love with the younger one, rubbing himself against the wall and sharing his cigarette smoke with his beloved through a straw.

The prison guard, apparently jealous of the prisoners' relationship, enters the older convict's cell, beats him, and makes him suck on his gun in a sexual fashion. Following this, the inmate drifts off into a fantasy where he and his object of desire roam the countryside. In the final scene, it becomes clear that the guard's power is no match for the intensity of attraction between the prisoners, even though their relationship is not consummated.

Genet does not use dialogue in his film, but focuses instead on close-ups of bodies, on faces, armpits and penises.

== Production ==
''Un chant d'amour'' was French writer Jean Genet's only film, which he directed. [[Jean Cocteau]] was believed to be the film's cinematographer.<ref name="Rich">{{cite web |url=http://www.dvdtalk.com/reviews/36832/jean-genets-un-chant-damour/ |title=Jean Genet's ''Un chant d'amour'' : DVD Talk Review of the DVD Video |last=Rich |first=Jamie S. |date=2 April 2009 |website=[[DVD Talk]] |accessdate=26 December 2014}}</ref>

== Controversy and ban ==
{{Quote|text=When in 1966 distributor Sol Landau attempted to exhibit the film in Berkeley, California, he was informed by a member of the local police special investigations department that were he to continue screening it the film "would be confiscated and the person responsible arrested." Landau responded by instituting the case of Landau v. Fording (1966) in which he sought to show Genet's work without police harassment. The Alameda County Superior Court watched the film twice and declared that it,"explicitly and vividly revealed acts of masturbation, oral copulation, the infamous crime against nature [a euphemism for sodomy], voyeurism, nudity, sadism, masochism and sex..." The court rejected Landau's suit, further condemning the film as "cheap pornography calculated to promote homosexuality, perversion and morbid sex practices." He was similarly rebuffed in the District Court of Appeal of California, which accepted that Genet was a major writer but cited this as a lesser work of an early period and declared that in the end it was "nothing more than hard-core pornography and should be banned." When the case reached the U.S. Supreme Court, the decision was confirmed once more, in a 5-4 [[per curiam decision]] in which the justices simply stated that ''Un chant d'amour'' was obscene and offered no further explanation.|author=[[Jonathon Green]] and Nicholas J Karolides|source=''The Encyclopedia of Censorship''<ref name="Encyclopedia of Censorship">{{cite book |last1=Green |first1=Jonathon |authorlink1=Jonathon Green |last2=Karolides |first2=Nicholas J. |year=2005 |origyear=1990 |title=The Encyclopedia of Censorship |series=Facts on File Library of World History |publisher=Facts on File |location=New York, New York, United States |url=https://books.google.com/books?id=bunHURgi7FcC&q=landau+v.+fording+Jean+Genet&pg=PA96 |isbn=9781438110011 |oclc=241302158 |accessdate=29 July 2012}}</ref>}}

== Critical reception ==
''Un chant d'amour'' was described in ''The Queer Encyclopedia of Film & Television'' as "one of the earliest and most remarkable attempts to portray homosexual passion on-screen".<ref>{{cite book |editor-last=Summers |editor-first=Claude J. |year=2005 |title=The Queer Encyclopedia of Film & Television |publisher=Ceis Press |page=109 |isbn=9781573442091 |url=https://books.google.com/books?id=gdmJAwAAQBAJ |accessdate=26 December 2014}}</ref> Fernando F. Croce of ''Slant'' wrote "A revolutionary vision of emancipation through sensuality, ''Un chant d'amour'' is a song of love both universal and eternal."<ref>{{cite web |url=http://www.slantmagazine.com/film/review/un-chant-damour |title=''Un chant d'amour'' <nowiki>| Film Review |</nowiki> Slant Magazine |last=Croce |first=Fernando F. |website=[[Slant Magazine|Slant]] |accessdate=26 December 2014}}</ref> Jamie Rich of DVD Talk called it "an effective film, albeit a tad clumsy and pretentious" that is "still a progressive and interesting experiment worth the time one is willing to put into it."<ref name="Rich"/> Phil Hall of ''Film Threat'' was more critical, writing "working in a silent film medium robs Genet of the lyrical language that dominated his artistic genius, and instead he presents a skein of imagery that becomes sillier and sillier as the film progresses. [...] Strictly of curio value, "''Un chant d'amour''" can offer contemporary viewers little more than some unintentional gay giggles."<ref>{{cite web |url=http://www.filmthreat.com/reviews/9907/ |title=Film Threat – ''Un chant d'amour'' |last=Hall |first=Phil |date=7 May 2007 |website=[[Film Threat]] |accessdate=26 December 2014}}</ref>

The film currently holds an approval rating of 100% on Rotten Tomatoes.<ref>{{cite web |url=http://www.rottentomatoes.com/m/un-chant-d-amour/ |title=''Un chant d'amour'' (''A Song of Love'') – Rotten Tomatoes |website=[[Rotten Tomatoes]] |accessdate=26 December 2014}}</ref>

== Legacy ==
The film has been cited as an influence for many gay filmmakers, including [[Derek Jarman]], [[Andy Warhol]], and [[Paul Morrissey]].<ref>{{cite book |last=Dillon |first=Steven |date=1 April 2004 |title=Derek Jarman and Lyric Film: The Mirror and the Sea |publisher=[[University of Texas Press]] |pages=29–33 |isbn=9780292702240 |url=https://books.google.com/books?id=JHatbkntJOcC&q=%22un+chant+d%27amour%22+%22genet%22&pg=PA30 |accessdate=26 December 2014}}</ref><ref>{{cite book|last1=Levy|first1=Emanuel|title=Gay Directors, Gay Films?: Pedro Almodóvar, Terence Davies, Todd Haynes, Gus Van Sant, John Waters|date=25 August 2015|publisher=Columbia University Press|isbn=9780231526531|page=168|url=https://books.google.com/books?id=uwnSBgAAQBAJ&pg=PA168|language=en}}</ref>

== Cast ==
* Bravo as older prisoner (uncredited)
* Lucien Sénémaud as younger prisoner (uncredited)
* Java as nude prisoner (uncredited)
* [[André Reybaz]] as Guard (uncredited)
* Coco Le Martiniquais as second dancing prisoner (uncredited)

== See also ==
* [[List of avant-garde films of the 1950s]]

== References ==
{{reflist|2}}

== Further reading ==
* {{cite book |last=Giles |first=Jane |title=The Cinema of Jean Genet: Un chant d'amour|url=https://archive.org/details/cinemaofjeangene0000gile |url-access=registration }}
* {{cite journal |last1=Rothman |first1=William |editor-last=Crouse |editor-first=Jeffrey |date=December 2009 |title=Romance, Eroticism, and the Camera's Gaze in Jean Genet's ''Un chant d'amour'' |journal=Film International |volume=7 |issue=6 |pages=56–63 |location=Göteborg, Sweden |publisher=[[H. W. Wilson Company]] |doi=10.1386/fiin.7.6.56 |issn= 1651-6826 |oclc=298956397}}

== External links ==
* {{IMDb title|0043084}}

{{Jean Genet}}

{{Authority control}}

{{DEFAULTSORT:Chant d'amour, Un}}
[[Category:1950 films]]
[[Category:1950s LGBT-related films]]
[[Category:French films]]
[[Category:French LGBT-related films]]
[[Category:French short films]]
[[Category:Works by Jean Genet]]
[[Category:Censored films]]
[[Category:Obscenity controversies in film]]
[[Category:LGBT-related short films]]
[[Category:LGBT-related coming-of-age films]]

Querelle

2020-12-27T19:26:54Z

Invulgo: /* Release */ punctuation issue

{{About|the 1982 film directed by [[Rainer Werner Fassbinder|R. W. Fassbinder]]|the 1947 novel by [[Jean Genet]]|Querelle of Brest}}
{{Use dmy dates|date=May 2013}}
{{Infobox film
| name = Querelle
| image = Querelle, film poster.jpg
| image_size =
| alt = A man in a sailor uniform leads with his back on a large brick phallus sculpture.
| caption = Theatrical release poster
| director = [[Rainer Werner Fassbinder]]
| producer = Michael McLernon [[Dieter Schidor]] Sam Waynberg
| writer = Rainer Werner Fassbinder [[Burkhard Driest]]
| based_on = {{Based on|''[[Querelle of Brest]]''|[[Jean Genet]]}}
| starring = [[Brad Davis (actor)|Brad Davis]] [[Franco Nero]] [[Jeanne Moreau]] [[Laurent Malet]] [[Hanno Pöschl]]
| music = [[Peer Raben]]
| cinematography = [[Xaver Schwarzenberger]]
| editing = [[Juliane Lorenz]]
| studio = [[Gaumont Film Company|Gaumont S.A. Paris]]
| distributor = Scotia {{small|(West Germany)}} [[Gaumont Film Company|Gaumont]] {{small|(France)}}
| released = {{Film date|df=y|1982|08||[[Montreal Film Festival|Montreal]]|1982|08|31|[[Venice International Film Festival|Venice]]|1982|09|08|France|1982|09|16|West Germany}}
| runtime = 108 minutes<ref>{{cite web|title=''QUERELLE'' (18)|url=http://www.bbfc.co.uk/releases/querelle-1970-2|work=[[British Board of Film Classification]]|date=1983-07-27|access-date=2013-05-29}}</ref>
| country = West Germany France
| language = English
| budget = [[Deutsche Mark|DEM]]4 million
}}

'''''Querelle''''' is a 1982 West German-French English-language [[Drama (film and television)|drama film]] directed by [[Rainer Werner Fassbinder]] and starring [[Brad Davis (actor)|Brad Davis]], adapted from [[France|French]] author [[Jean Genet]]'s 1947 novel ''[[Querelle of Brest]]''. It marked Fassbinder's final film as a writer/director; it was posthumously released just months after the director's death in June 1982.

== Plot ==

The plot centers on the handsome Belgian sailor [[Georges Querelle]], who is also a thief and [[murderer]]. When his ship, ''Le Vengeur'', arrives in [[Brest, France|Brest]], he visits the ''Feria'', a bar and brothel for sailors run by the Madame Lysiane, whose lover, Robert, is Querelle's brother. Querelle has a love/hate relationship with his brother, but when they meet at La Feria, they embrace, but also punch one another slowly and repeatedly in the belly. Lysiane's husband Nono tends bar and manages La Feria's underhanded affairs with the assistance of his friend, the corrupt police captain Mario.

Querelle makes a deal to sell [[opium]] to Nono, and murders his accomplice Vic. After delivering the drugs, Querelle announces that he wants to sleep with Lysiane. He knows that this means he will have to throw dice with Nono, who has the privilege of playing a game of chance with all of her prospective lovers. If Nono loses, the suitor is allowed to proceed with his affair. If the suitor loses, however, he must submit to [[anal sex]] with Nono first, saying "That way, I can say my wife only sleeps with assholes." Querelle deliberately loses the game, allowing himself to be [[Sodomy|sodomized]] by Nono. When Nono gloats about Querelle's "loss" to Robert, who won ''his'' dice game, the brothers end up in a violent fight. Later, Querelle becomes Lysiane's lover, and also has sex with Mario.

Luckily for Querelle, a construction worker, Gil, murders his coworker Theo, who had been harassing and [[sexual assault|sexually assaulting]] him. Gil is also considered to be the murderer of Vic. Gil hides from the police in an abandoned prison, and Roger, who is in love with Gil, establishes contact between Querelle and Gil in the hopes that Querelle can help Gil flee. Querelle falls in love with Gil, who closely resembles his brother. Gil returns his affections, but Querelle betrays Gil by tipping off the police. Querelle cleverly arranged it so that the murder of Vic is also blamed on Gil.

Querelle's superior, Lieutenant Seblon, is in love with Querelle, and constantly tries to prove his manliness to him. Seblon is aware that Querelle murdered Vic, but chooses to protect him. Later, Seblon reveals his love and concern to a drunken Querelle, and they kiss and embrace before returning to ''Le Vengeur''.

== Cast ==

* [[Brad Davis (actor)|Brad Davis]] as [[Georges Querelle|Querelle]]
* [[Franco Nero]] as Lieutenant Seblon
* [[Jeanne Moreau]] as Lysiane
* [[Laurent Malet]] as Roger Bataille
* [[Hanno Pöschl]] as Robert / Gil
* [[Günther Kaufmann]] as Nono
* [[Burkhard Driest]] as Mario
* [[Roger Fritz]] as Marcellin
* [[Dieter Schidor]] as Vic Rivette
* [[Natja Brunckhorst]] as Paulette
* [[Werner Asam]] as Worker
* [[Axel Bauer]] as Worker
* Neil Bell as Theo
* [[Robert van Ackeren]] as Drunken legionnaire
* [[Wolf Gremm]] as Drunken legionnaire
* [[Frank Ripploh]] as Drunken legionnaire

== Production ==

According to Genet's biographer [[Edmund White]], ''Querelle'' was originally going to be made by [[Werner Schroeter]], with a scenario by [[Burkhard Driest]], and produced by Dieter Schidor. However, Schidor could not find the money to finance a film by Schroeter, and therefore turned to other directors, including [[John Schlesinger]] and [[Sam Peckinpah]], before finally settling on Fassbinder. Driest wrote a radically different script for Fassbinder, who then "took the linear narrative and jumbled it up". White quotes Schidor as saying "Fassbinder did something totally different, he took the words of Genet and tried to meditate on something other than the story. The story became totally unimportant for him. He also said publicly that the story was a sort of third-rate police story that wouldn't be worth making a movie about without putting a particular moral impact into it".<ref name=White615-616 />

Schroeter had wanted to make a black and white film with amateur actors and location shots, but Fassbinder instead shot it with professional actors in a lurid, expressionist color, and on sets in the studio. Edmund White comments that the result is a film in which, "Everything is bathed in an artificial light and the architectural elements are all symbolic."<ref name=White615-616>White, Edmund. ''Genet: A Biography''. Alfred A. Knopf 1993, pp. 615-616</ref>

== Soundtrack ==

* Jeanne Moreau – "Each Man Kills the Things He Loves" (music by [[Peer Raben]], lyrics from [[Oscar Wilde]]'s poem "[[The Ballad of Reading Gaol]]")
* "Young and Joyful Bandit" (Music by Peer Raben, lyrics by Jeanne Moreau)

Both songs were nominated to the [[4th Golden Raspberry Awards|1984 Razzie Awards]] for "Worst Original Song".

== Release ==
''Querelle'' sold more than 100,000 tickets in the first three weeks after its release in Paris, the first time that a film with a strong homosexual theme had achieved such success.<ref name=White615-616 /> However, the film received mixed reviews; critics who praised it called it a "noble experiment", while detractors called it incoherent and disjointed.<ref>[http://www.rottentomatoes.com/m/querelle/?critic=columns Querelle Movie Reviews, Pictures - Rotten Tomatoes]</ref> Writing for [[The New York Times]] critic [[Vincent Canby]] noted that ''Querelle'' was "a mess...a detour that leads to a dead end." <ref>https://www.nytimes.com/1983/04/29/movies/fassbinder-s-last.html </ref>
Penny Ashbrook calls ''Querelle'' Fassbinder's "perfect epitaph: an intensely personal statement that is the most uncompromising portrayal of gay male sensibility to come from a major filmmaker."<ref>{{cite book |author=Penny Ashbrook |editor=Gilbert, Harriet |title=The Sexual Imagination: From Acker to Zola |publisher=Jonathan Cape |location=London |year=1993 |page=[https://archive.org/details/sexualimaginatio0000unse/page/87 87] |isbn=0-224-03535-5 |url-access=registration |url=https://archive.org/details/sexualimaginatio0000unse/page/87 }}</ref> Edmund White considers ''Querelle'' the only film based on Genet's book that works, calling it "visually as artificial and menacing as Genet's prose."<ref name=White340>White, Edmund. ''Genet: A Biography''. Alfred A. Knopf 1993, p. 340</ref> Genet, in discussion with Schidor, said that he had not seen the film, commenting "You can't smoke at the movies."<ref name=White615-616 />

== References ==
{{reflist}}

== External links ==
* {{commons category-inline}}
* {{IMDb title|0084565|Querelle}}
* {{rotten-tomatoes|querelle|Querelle}}

{{Rainer Werner Fassbinder}}
{{Authority control}}

{{DEFAULTSORT:Querelle}}
[[Category:1982 films]]
[[Category:1982 drama films]]
[[Category:1982 LGBT-related films]]
[[Category:German drama films]]
[[Category:German LGBT-related films]]
[[Category:French drama films]]
[[Category:French LGBT-related films]]
[[Category:West German films]]
[[Category:French films]]
[[Category:English-language films]]
[[Category:Films directed by Rainer Werner Fassbinder]]
[[Category:Films based on French novels]]
[[Category:Films shot in Berlin]]
[[Category:Films set in France]]
[[Category:Films set in the 1940s]]
[[Category:German serial killer films]]
[[Category:English-language French films]]
[[Category:Jean Genet]]
[[Category:LGBT-related drama films]]

Querelle

2020-12-27T17:33:42Z

Invulgo: /* Release */ added brief review by noted critic Vincent Canby

{{About|the 1982 film directed by [[Rainer Werner Fassbinder|R. W. Fassbinder]]|the 1947 novel by [[Jean Genet]]|Querelle of Brest}}
{{Use dmy dates|date=May 2013}}
{{Infobox film
| name = Querelle
| image = Querelle, film poster.jpg
| image_size =
| alt = A man in a sailor uniform leads with his back on a large brick phallus sculpture.
| caption = Theatrical release poster
| director = [[Rainer Werner Fassbinder]]
| producer = Michael McLernon [[Dieter Schidor]] Sam Waynberg
| writer = Rainer Werner Fassbinder [[Burkhard Driest]]
| based_on = {{Based on|''[[Querelle of Brest]]''|[[Jean Genet]]}}
| starring = [[Brad Davis (actor)|Brad Davis]] [[Franco Nero]] [[Jeanne Moreau]] [[Laurent Malet]] [[Hanno Pöschl]]
| music = [[Peer Raben]]
| cinematography = [[Xaver Schwarzenberger]]
| editing = [[Juliane Lorenz]]
| studio = [[Gaumont Film Company|Gaumont S.A. Paris]]
| distributor = Scotia {{small|(West Germany)}} [[Gaumont Film Company|Gaumont]] {{small|(France)}}
| released = {{Film date|df=y|1982|08||[[Montreal Film Festival|Montreal]]|1982|08|31|[[Venice International Film Festival|Venice]]|1982|09|08|France|1982|09|16|West Germany}}
| runtime = 108 minutes<ref>{{cite web|title=''QUERELLE'' (18)|url=http://www.bbfc.co.uk/releases/querelle-1970-2|work=[[British Board of Film Classification]]|date=1983-07-27|access-date=2013-05-29}}</ref>
| country = West Germany France
| language = English
| budget = [[Deutsche Mark|DEM]]4 million
}}

'''''Querelle''''' is a 1982 West German-French English-language [[Drama (film and television)|drama film]] directed by [[Rainer Werner Fassbinder]] and starring [[Brad Davis (actor)|Brad Davis]], adapted from [[France|French]] author [[Jean Genet]]'s 1947 novel ''[[Querelle of Brest]]''. It marked Fassbinder's final film as a writer/director; it was posthumously released just months after the director's death in June 1982.

== Plot ==

The plot centers on the handsome Belgian sailor [[Georges Querelle]], who is also a thief and [[murderer]]. When his ship, ''Le Vengeur'', arrives in [[Brest, France|Brest]], he visits the ''Feria'', a bar and brothel for sailors run by the Madame Lysiane, whose lover, Robert, is Querelle's brother. Querelle has a love/hate relationship with his brother, but when they meet at La Feria, they embrace, but also punch one another slowly and repeatedly in the belly. Lysiane's husband Nono tends bar and manages La Feria's underhanded affairs with the assistance of his friend, the corrupt police captain Mario.

Querelle makes a deal to sell [[opium]] to Nono, and murders his accomplice Vic. After delivering the drugs, Querelle announces that he wants to sleep with Lysiane. He knows that this means he will have to throw dice with Nono, who has the privilege of playing a game of chance with all of her prospective lovers. If Nono loses, the suitor is allowed to proceed with his affair. If the suitor loses, however, he must submit to [[anal sex]] with Nono first, saying "That way, I can say my wife only sleeps with assholes." Querelle deliberately loses the game, allowing himself to be [[Sodomy|sodomized]] by Nono. When Nono gloats about Querelle's "loss" to Robert, who won ''his'' dice game, the brothers end up in a violent fight. Later, Querelle becomes Lysiane's lover, and also has sex with Mario.

Luckily for Querelle, a construction worker, Gil, murders his coworker Theo, who had been harassing and [[sexual assault|sexually assaulting]] him. Gil is also considered to be the murderer of Vic. Gil hides from the police in an abandoned prison, and Roger, who is in love with Gil, establishes contact between Querelle and Gil in the hopes that Querelle can help Gil flee. Querelle falls in love with Gil, who closely resembles his brother. Gil returns his affections, but Querelle betrays Gil by tipping off the police. Querelle cleverly arranged it so that the murder of Vic is also blamed on Gil.

Querelle's superior, Lieutenant Seblon, is in love with Querelle, and constantly tries to prove his manliness to him. Seblon is aware that Querelle murdered Vic, but chooses to protect him. Later, Seblon reveals his love and concern to a drunken Querelle, and they kiss and embrace before returning to ''Le Vengeur''.

== Cast ==

* [[Brad Davis (actor)|Brad Davis]] as [[Georges Querelle|Querelle]]
* [[Franco Nero]] as Lieutenant Seblon
* [[Jeanne Moreau]] as Lysiane
* [[Laurent Malet]] as Roger Bataille
* [[Hanno Pöschl]] as Robert / Gil
* [[Günther Kaufmann]] as Nono
* [[Burkhard Driest]] as Mario
* [[Roger Fritz]] as Marcellin
* [[Dieter Schidor]] as Vic Rivette
* [[Natja Brunckhorst]] as Paulette
* [[Werner Asam]] as Worker
* [[Axel Bauer]] as Worker
* Neil Bell as Theo
* [[Robert van Ackeren]] as Drunken legionnaire
* [[Wolf Gremm]] as Drunken legionnaire
* [[Frank Ripploh]] as Drunken legionnaire

== Production ==

According to Genet's biographer [[Edmund White]], ''Querelle'' was originally going to be made by [[Werner Schroeter]], with a scenario by [[Burkhard Driest]], and produced by Dieter Schidor. However, Schidor could not find the money to finance a film by Schroeter, and therefore turned to other directors, including [[John Schlesinger]] and [[Sam Peckinpah]], before finally settling on Fassbinder. Driest wrote a radically different script for Fassbinder, who then "took the linear narrative and jumbled it up". White quotes Schidor as saying "Fassbinder did something totally different, he took the words of Genet and tried to meditate on something other than the story. The story became totally unimportant for him. He also said publicly that the story was a sort of third-rate police story that wouldn't be worth making a movie about without putting a particular moral impact into it".<ref name=White615-616 />

Schroeter had wanted to make a black and white film with amateur actors and location shots, but Fassbinder instead shot it with professional actors in a lurid, expressionist color, and on sets in the studio. Edmund White comments that the result is a film in which, "Everything is bathed in an artificial light and the architectural elements are all symbolic."<ref name=White615-616>White, Edmund. ''Genet: A Biography''. Alfred A. Knopf 1993, pp. 615-616</ref>

== Soundtrack ==

* Jeanne Moreau – "Each Man Kills the Things He Loves" (music by [[Peer Raben]], lyrics from [[Oscar Wilde]]'s poem "[[The Ballad of Reading Gaol]]")
* "Young and Joyful Bandit" (Music by Peer Raben, lyrics by Jeanne Moreau)

Both songs were nominated to the [[4th Golden Raspberry Awards|1984 Razzie Awards]] for "Worst Original Song".

== Release ==
''Querelle'' sold more than 100,000 tickets in the first three weeks after its release in Paris, the first time that a film with a strong homosexual theme had achieved such success.<ref name=White615-616 /> However, the film received mixed reviews; critics who praised it called it a "noble experiment", while detractors called it incoherent and disjointed.<ref>[http://www.rottentomatoes.com/m/querelle/?critic=columns Querelle Movie Reviews, Pictures - Rotten Tomatoes]</ref> Writing for [[The New York Times]] critic, [[Vincent Canby]] noted that ''Querelle'' was "a mess...a detour that leads to a dead end." <ref>https://www.nytimes.com/1983/04/29/movies/fassbinder-s-last.html </ref>
Penny Ashbrook calls ''Querelle'' Fassbinder's "perfect epitaph: an intensely personal statement that is the most uncompromising portrayal of gay male sensibility to come from a major filmmaker."<ref>{{cite book |author=Penny Ashbrook |editor=Gilbert, Harriet |title=The Sexual Imagination: From Acker to Zola |publisher=Jonathan Cape |location=London |year=1993 |page=[https://archive.org/details/sexualimaginatio0000unse/page/87 87] |isbn=0-224-03535-5 |url-access=registration |url=https://archive.org/details/sexualimaginatio0000unse/page/87 }}</ref> Edmund White considers ''Querelle'' the only film based on Genet's book that works, calling it "visually as artificial and menacing as Genet's prose."<ref name=White340>White, Edmund. ''Genet: A Biography''. Alfred A. Knopf 1993, p. 340</ref> Genet, in discussion with Schidor, said that he had not seen the film, commenting "You can't smoke at the movies."<ref name=White615-616 />

== References ==
{{reflist}}

== External links ==
* {{commons category-inline}}
* {{IMDb title|0084565|Querelle}}
* {{rotten-tomatoes|querelle|Querelle}}

{{Rainer Werner Fassbinder}}
{{Authority control}}

{{DEFAULTSORT:Querelle}}
[[Category:1982 films]]
[[Category:1982 drama films]]
[[Category:1982 LGBT-related films]]
[[Category:German drama films]]
[[Category:German LGBT-related films]]
[[Category:French drama films]]
[[Category:French LGBT-related films]]
[[Category:West German films]]
[[Category:French films]]
[[Category:English-language films]]
[[Category:Films directed by Rainer Werner Fassbinder]]
[[Category:Films based on French novels]]
[[Category:Films shot in Berlin]]
[[Category:Films set in France]]
[[Category:Films set in the 1940s]]
[[Category:German serial killer films]]
[[Category:English-language French films]]
[[Category:Jean Genet]]
[[Category:LGBT-related drama films]]

Why Does Herr R. Run Amok?

2020-12-25T15:56:14Z

Invulgo: /* Plot */ Clarified details regarding visit to the doctor

{{short description|1969 film}}
{{Use dmy dates|date=May 2015}}
{{Infobox film
| name = Why Does Herr R. Run Amok?
| image = Why Does Herr R. Run Amok.jpg
| caption = Film poster
| director = {{ubl|[[Rainer Werner Fassbinder]]|[[Michael Fengler]]}}
| producer = Michael Fengler
| writer = {{ubl|Rainer Werner Fassbinder|Michael Fengler}}
| starring = Lilith Ungerer
| music =
| cinematography = [[Dietrich Lohmann]]
| editing = {{ubl|Rainer Werner Fassbinder|Michael Fengler}}
| distributor =
| released = {{film date|1970|6|28|df=yes}}
| runtime = 90 minutes
| country = West Germany
| language = German
| budget =
}}

'''''Why Does Herr R. Run Amok?''''' ({{lang-de|'''Warum läuft Herr R. Amok?'''}}) is a 1970 West German [[drama film]] directed by [[Rainer Werner Fassbinder]] and [[Michael Fengler]]. It was entered into the [[20th Berlin International Film Festival]].<ref name="imdb">{{cite web |url=https://www.imdb.com/title/tt0066546/awards |title=IMDB.com: Awards for Why Does Herr R. Run Amok? |accessdate=10 March 2010 |work=imdb.com}}</ref>

==Plot==
Herr Rabb has worked for 18 months at a small architectural firm and displays loyalty and respect for his colleagues. He and his wife harmoniously attend a parent-teacher conference, watch television and plan for the future. They visit his parents, where his mother seems slightly overbearing. He was rebuked at work and his son could be doing better at school, but these do not seem to be serious issues. His wife tells friends that he is anticipating promotion to another office.
We see Rabb at work, getting his health check-up with few issues apart from slightly raised blood pressure and persistent headaches, and later making an embarassingly tipsy speech at a dinner-party for his colleagues and boss, after which his wife calls him fat and stupid. We then see him watching television with his wife and a talkative neighbor. After listening to the neighbor talking about her skiing trip, Herr R. gets up and silently bludgeons to death the neighbor, his wife and son, Amadeus, with a large candlestick. The next day, he reports to work on time. When the police arrive, they find he has hanged himself in the bathroom.

==Cast==
* [[Lilith Ungerer]] - Frau R.
* [[Kurt Raab]] - Herr R.
* [[Lilo Pempeit]] - Kollegin im Büro
* [[Franz Maron]] - Chef
* [[Harry Baer]] - Kollege im Büro
* [[Peter Moland]] - Kollege im Büro
* [[Hanna Schygulla]] - Schulfreundin von Frau R.
* [[Ingrid Caven]] - Nachbarin
* [[Irm Hermann]] - Nachbarin
* [[Doris Mattes]] - Nachbarin
* [[Hannes Gromball]] - Nachbar
* [[Vinzenz Sterr]] - Opa Raab (as Herr Sterr)
* [[Maria Sterr]] - Oma Raab (as Frau Sterr)
* [[Peer Raben]] - Schulfreund von Herrn R.
* [[Eva Pampuch]] - Schallplattenverkäuferin
* [[Carla Egerer]] - Schallplattenverkäuferin (as Carla Aulaulu)

==References==
{{reflist}}

==External links==
*{{imdb title|id=0066546|title=Why Does Herr R. Run Amok?}}
{{Rainer Werner Fassbinder}}

[[Category:1970 films]]
[[Category:1970 drama films]]
[[Category:German drama films]]
[[Category:West German films]]
[[Category:German-language films]]
[[Category:Films directed by Rainer Werner Fassbinder]]
[[Category:Films directed by Michael Fengler]]
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Stalker (1979 film)

2020-12-24T07:35:26Z

Invulgo: Deleted the adjective 'near' (cult film) in Paragraph three. Surely, the adjective 'near' is redundant as the film obviously does have cult status, as for example evidenced in the 240 page book Zona by Geoff Dyer

{{short description|1979 film by Andrei Tarkovsky}}
{{Use dmy dates|date=March 2016}}
{{Infobox film
| name = Stalker
| image = Stalker_poster.jpg
| alt =
| caption = Original release poster
| director = [[Andrei Tarkovsky]]
| producer = Aleksandra Demidova{{#tag:ref|In the Soviet Union the role of a producer was different from that in Western countries and more similar to the role of a [[line producer]] or a [[unit production manager]].<ref>{{citation|last=Johnson|first=Vida T. |author2=Graham Petrie |title=The Films of Andrei Tarkovsky: A Visual Fugue|publisher=Indiana University Press|year=1994|pages=57–58|isbn=0-253-20887-4}}</ref>|group="n"}}
| writer = [[Boris and Arkady Strugatsky|Boris Strugatsky Arkady Strugatsky]]
| based_on = {{Based on|''[[Roadside Picnic]]''|Boris and Arkady Strugatsky}}
| starring = [[Alexander Kaidanovsky]] [[Anatoly Solonitsyn]] [[Nikolai Grinko]] [[Alisa Freindlich]]
| music = [[Eduard Artemyev]]
| cinematography = [[Alexander Knyazhinsky]]
| editing = Lyudmila Feiginova
| studio = [[Mosfilm]]
| distributor = [[Goskino]]
| released = {{Film date|1979|05|25|limited|ref1=<ref name="johnson-139-140">{{citation |last=Johnson |first=Vida T. |author2=Graham Petrie |title=The Films of Andrei Tarkovsky: A Visual Fugue |publisher=Indiana University Press |year=1994 |url=https://books.google.com/books?id=GnFYvV6FiMIC&q=a+visual+fuge |pages=139–140 |isbn=0-253-20887-4}}</ref>|1980|5|13|[[1980 Cannes Film Festival|Cannes]]|}}
| runtime = 161 minutes<ref>{{cite web | url=http://www.bbfc.co.uk/releases/stalker-1970 | title=''STALKER'' (A) | work=[[British Board of Film Classification]] | date=2 December 1980 | accessdate=21 March 2016}}</ref>
| country = Soviet Union
| language = Russian
| budget = 1 million [[Soviet ruble|SUR]]<ref name="johnson-139-140" />
| gross = 4.3 million tickets<ref name=bo/>
}}
'''''Stalker''''' ({{lang-rus|Сталкер|p=ˈstaɫkʲɪr}}) is a 1979 Soviet [[science fiction film|science fiction]] [[art film|art]] [[drama (film and television)|drama]] film directed by [[Andrei Tarkovsky]] with a screenplay written by [[Boris and Arkady Strugatsky]], loosely based on their 1972 novel ''[[Roadside Picnic]]''. The film combines elements of [[science fiction]] with dramatic [[Philosophy|philosophical]] and [[Psychology|psychological]] themes.<ref name=slant/>

The film tells the story of an expedition led by a figure known as the "Stalker" ([[Alexander Kaidanovsky]]), who takes his two clients—a melancholic writer ([[Anatoly Solonitsyn]]) seeking inspiration, and a professor ([[Nikolai Grinko]]) seeking scientific discovery—to a mysterious restricted site known simply as the "Zone", where there supposedly exists a room which grants a person's innermost desires.

''Stalker'' was released on Goskino in May 1979. Upon release, the film garnered mixed reviews initially before receiving overwhelmingly positive reviews over the following years, thus becoming a [[cult film]] with many praising Tarkovsky's directing, visuals, themes and screenwriting. The film grossed over 4 million worldwide, mostly in the [[USSR]], against a budget of 1 million [[Soviet ruble]]s.{{citation needed|date=June 2020}}

==Title==
The meaning of the word "stalk" was derived from its use by the [[Arkady and Boris Strugatsky|Strugatsky brothers]] in their novel ''[[Roadside Picnic]]'', upon which the movie is based. In ''Roadside Picnic'', "Stalker" was a common nickname for men engaged in the illegal enterprise of prospecting for and smuggling alien artifacts out of the "Zone". The common English definition of the term "[[stalking]]" was also cited by Andrei Tarkovsky.<ref>{{cite book |last=Tarkovsky |first=Andrei |date=1991 |title=Time Within Time: The Diaries 1970–1986|url=https://monoskop.org/images/d/dd/Tarkovsky_Andrey_Time_Within_Time_The_Diaries_1970-1986.pdf |access-date=2016-05-04 |publisher=Seagull Books |page=136 |isbn=81-7046-083-2}}</ref>

In the film, a "stalker" is a professional guide to the Zone, someone having the ability and desire to cross the border into the dangerous and forbidden place with a specific goal.<ref name=slant/><ref name="toninoguerra">{{citation|last=Gianvito|first=John|title=Andrei Tarkovsky: Interviews|publisher= University Press of Mississippi |url=https://books.google.com/books?id=WKp-hAuQ_2oC |year=2006 |pages=50–54 |isbn=1-57806-220-9}}</ref>

==Plot==
{{original research section|date=June 2020}}
In the distant future, the protagonist ([[Alexander Kaidanovsky]]) works in an unnamed location as a "Stalker" who leads people through the "Zone", an area in which the normal laws of reality do not apply and remnants of seemingly extraterrestrial activity lie undisturbed among its ruins. The Zone contains a place called the "Room", said to grant the wishes of anyone who steps inside. The area containing the Zone is shrouded in secrecy, sealed off by the government and surrounded by ominous hazards.

At home with his wife and daughter, the Stalker's wife ([[Alisa Freindlich]]) begs him not to go into the Zone, but he dismissively rejects her pleas. In a rundown bar, the Stalker meets his next clients for a trip into the Zone, the Writer ([[Anatoly Solonitsyn]]) and the Professor ([[Nikolai Grinko]]).

They evade the military blockade that guards the Zone by following a train inside the gate and ride into the heart of the Zone on a railway work car. The Stalker tells his clients they must do exactly as he says to survive the dangers which lie ahead and explains that the Zone must be respected and the straightest path is not always the shortest path. The Stalker tests for various "traps" by throwing metal nuts tied to strips of cloth ahead of them. He refers to a previous Stalker named "Porcupine", who had led his brother to his death in the Zone, visited the Room, come into possession of a large sum of money, and shortly afterwards committed suicide. The Writer is skeptical of any real danger, but the Professor generally follows the Stalker's advice.

As they travel, the three men discuss their reasons for wanting to visit the Room. The Writer expresses his fear of losing his inspiration. The Professor seems less anxious, although he insists on carrying along a small backpack. The Professor admits he hopes to win a Nobel Prize for scientific analysis of the Zone. The Stalker insists he has no motive beyond the altruistic aim of aiding the desperate to their desires.

After traveling through the tunnels, the three finally reach their destination: a decayed and decrepit industrial building. In a small antechamber, a phone rings. The surprised Professor decides to use the phone to telephone a colleague. As the trio approach the Room, the Professor reveals his true intentions in undertaking the journey. The Professor has brought a 20-kiloton bomb (comparable to the [[Fat Man|Nagasaki nuclear bomb]]) with him, and he intends to destroy the Room to prevent its use by evil men. The three men enter a physical and verbal standoff just outside the Room that leaves them exhausted.

The Writer realizes that when Porcupine met his goal, despite his conscious motives, the room fulfilled Porcupine's secret desire for wealth rather than bring back his brother from death. This prompted the guilt-ridden Porcupine to commit suicide. The Writer tells them that no one in the whole world is able to know their true desires and as such it is impossible to use the Room for selfish reasons. The Professor gives up on his plan of destroying the Room. Instead, he disassembles his bomb and scatters its pieces. No one attempts to enter the Room.

The Stalker, the Writer, and the Professor are met back at the bar by the Stalker's wife and daughter. After returning home, the Stalker tells his wife how humanity has lost its faith and belief needed for both traversing the Zone and living a good life. As the Stalker sleeps, his wife contemplates their relationship in a monologue delivered [[Breaking the fourth wall|directly to the camera]]. In the last scene Martyshka, the couple's deformed daughter, sits alone in the kitchen reading as a love poem by [[Fyodor Tyutchev]] is recited. She appears to use [[psychokinesis]] to push three drinking glasses across the table. A train passes by where the Stalker's family lives, and the entire apartment shakes.

==Cast==
* [[Alexander Kaidanovsky]] as the Stalker
* [[Anatoly Solonitsyn]] as the writer
* [[Alisa Freindlich]] as the Stalker's wife
* [[Nikolai Grinko]] as the Professor (voiced by [[Sergei Yakovlev (actor)|Sergei Yakovlev]])
* Natasha Abramova as Martiška, the Stalker's daughter
* Faime Jurno as the writer's girlfriend
* E. Kostin as Lyuger, the cafe owner
* Raymo Rendi as the patrolman
* [[Vladimir Zamansky]] as the voice on the phone conversation with the Professor

==Production==
===Writing===
After reading the novel, ''[[Roadside Picnic]]'', by [[Boris and Arkady Strugatsky]], Tarkovsky initially recommended it to a friend, the film director [[Mikhail Kalatozov]], thinking Kalatozov might be interested in adapting it into a film. Kalatozov abandoned the project when he could not obtain the rights to the novel. Tarkovsky then became very interested in adapting the novel and expanding its concepts. He hoped it would allow him to make a film which conforms to the [[Classical unities|classical Aristotelian unity]]; a single action, on a single location, within 24 hours (single point in time).<ref name="toninoguerra" />

Tarkovsky viewed the idea of the Zone as a dramatic tool to draw out the personalities of the three protagonists, particularly the psychological damage from everything that happens to the [[Idealism|idealistic]] views of the Stalker as he finds himself unable to make others happy: <blockquote>"This, too, is what Stalker is about: the hero goes through moments of despair when his faith is shaken; but every time he comes to a renewed sense of his vocation to serve people who have lost their hopes and illusions."<ref>{{Cite book |title=Sculpting in Time. Reflections on the Cinema |last=Tarkovsky |first=Andrey|author-mask=Tarkovsky, Andrey {{sic}} |date=1987 |origyear=[https://books.google.com/books?id=1MCvQgAACAAJ 1986] |publisher=[[University of Texas Press]] |location=[[Austin, Texas|Austin]] |page=[https://books.google.com/books?id=u-HRWkL6vnAC&pg=PA193&dq=%22This,+too,+is+what+Stalker+is+about:+the+hero+goes+through+moments+of+despair+when+his+faith+is+shaken;+but+every+time+he+comes+to+a+renewed+sense+of+his+vocation+to+serve+people+who+have+lost+their+hopes+and+illusions%22 193] |isbn=0292776241|title-link=Sculpting in Time }}</ref></blockquote> The film departs considerably from the novel. According to an interview with Tarkovsky in 1979, the film has basically nothing in common with the novel except for the two words "Stalker" and "Zone".<ref name="toninoguerra" />

Yet, several similarities remain between the novel and the film. In both works, the Zone is guarded by a police or military guard, apparently authorized to use [[deadly force]]. The Stalker in both works tests the safety of his path by tossing nuts and bolts tied with scraps of cloth, verifying that gravity is working as usual. A character named Hedgehog/Porcupine is a mentor to Stalker. In the novel, frequent visits to the Zone increase the likelihood of abnormalities in the visitor's offspring. In the book, the Stalker's daughter has light hair all over her body, while in the film she is crippled. Neither in the novel nor in the film do the women enter the Zone. Finally, the target of the expedition in both works is a wish-granting device.{{citation needed|date=June 2020}}

In ''Roadside Picnic'', the site was specifically described as the site of alien visitation; the name of the novel derives from a metaphor proposed by a character who compares the visit to a roadside picnic. The closing monologue by the Stalker's wife at the end of the film has no equivalent in the novel. An early draft of the screenplay was published as a novel ''[[Stalker (novel)|Stalker]]'' that differs substantially from the finished film.{{citation needed|date=June 2020}}

===Production===
In an interview on the MK2 DVD, the production designer, Rashit Safiullin, recalled that Tarkovsky spent a year shooting a version of the outdoor scenes of ''Stalker''. However, when the crew returned to [[Moscow]], they found that all of the film had been improperly developed and their footage was unusable. The film had been shot on new [[Kodak]] 5247 stock with which Soviet laboratories were not very familiar.<ref name=rusico /> Even before the film stock problem was discovered, relations between Tarkovsky and ''Stalker''{{'}}s first [[cinematographer]], [[Georgy Rerberg]], had deteriorated. After seeing the poorly developed material, Tarkovsky fired Rerberg. By the time the film stock defect was discovered, Tarkovsky had shot all the outdoor scenes and had to abandon them. Safiullin contends that Tarkovsky was so despondent that he wanted to abandon further work on the film.<ref name=rusico />

After the loss of the film stock, the Soviet film boards wanted to shut the film down, but Tarkovsky came up with a solution: he asked to be allowed to make a two-part film, which meant additional deadlines and more funds. Tarkovsky ended up reshooting almost all of the film with a new cinematographer, [[Alexander Knyazhinsky]]. According to Safiullin, the finished version of ''Stalker'' is completely different from the one Tarkovsky originally shot.<ref name=rusico />

The documentary film ''Rerberg and Tarkovsky: The Reverse Side of "Stalker"'' by Igor Mayboroda offers a different interpretation of the relationship between Rerberg and Tarkovsky. Rerberg felt that Tarkovsky was not ready for this script. He told Tarkovsky to rewrite the script in order to achieve a good result. Tarkovsky ignored him and continued shooting. After several arguments, Tarkovsky sent Rerberg home. Ultimately, Tarkovsky shot ''Stalker'' three times, consuming over {{convert|5000|m}} of film. People who have seen both the first version shot by Rerberg (as Director of Photography) and the final theatrical release say that they are almost identical. Tarkovsky sent home other crew members in addition to Rerberg, excluding them from the credits, as well.{{citation needed|date=June 2020}}

{{stack|[[File:Jägala HEP, Sept 2009.jpg|thumb|One of the deserted hydro power plants near [[Tallinn]], Estonia, where the central part of ''Stalker'' was shot.]]}}
The central part of the film, in which the characters travel within the Zone, was shot in a few days at two deserted [[hydropower|hydro power plants]] on the [[Jägala river]] near [[Tallinn]], [[Estonian SSR|Estonia]].<ref name="norton">{{Citation |last=Norton |first=James |title=Stalking the Stalker |url=http://people.ucalgary.ca/~tstronds/nostalghia.com/TheTopics/Norton.html |publisher=Nostalghia.com |accessdate=2010-09-15}}</ref> The shot before they enter the Zone is an old Flora chemical factory in the center of [[Tallinn]], next to the old Rotermann salt storage (now [[Museum of Estonian Architecture]]), and the former [[Tallinn power plant]], now [[Kultuurikatel|Tallinn Creative Hub]], where a memorial plate of the film was set up in 2008. Some shots within the Zone were filmed in [[Maardu]], next to the [[Iru power plant]], while the shot with the gates to the Zone was filmed in [[Lasnamäe]], next to Punane Street behind the Idakeskus. Other shots were filmed near the Tallinn–Narva highway bridge on the [[Pirita River]].<ref name=norton/>

Several people involved in the film production, including Tarkovsky, died from causes that some crew members attributed to the film's long shooting schedule in toxic locations. Sound designer Vladimir Sharun recalled:
{{quote|"We were shooting near Tallinn in the area around the small river Jägala with a half-functioning hydroelectric station. Up the river was a chemical plant and it poured out poisonous liquids downstream. There is even this shot in Stalker: snow falling in the summer and white foam floating down the river. In fact it was some horrible poison. Many women in our crew got allergic reactions on their faces. Tarkovsky died from cancer of the right bronchial tube. And Tolya Solonitsyn too. That it was all connected to the location shooting for Stalker became clear to me when [[Larisa Tarkovskaya]] died from the same illness in Paris."<ref name="SharunQuote">{{Citation |last=Tyrkin |first=Stas |title=In Stalker Tarkovsky foretold Chernobyl |url=http://www.acs.ucalgary.ca/~tstronds/nostalghia.com/TheTopics/Stalker/sharun.html |publisher=Nostalghia.com |date=2001-03-23 |accessdate=2009-05-25}}</ref>}}

===Style===
Like Tarkovsky's other films, ''Stalker'' relies on [[long take]]s with slow, subtle camera movement, rejecting the use of rapid [[Montage (filmmaking)|montage]]. The film contains 142 shots in 163 minutes, with an average shot length of more than one minute and many shots lasting for more than four minutes.<ref>{{citation |last=Johnson |first=Vida T. |author2=Graham Petrie |title=The Films of Andrei Tarkovsky: A Visual Fugue |publisher=Indiana University Press |year=1994 |url=https://books.google.com/books?id=GnFYvV6FiMIC&q=a+visual+fuge |page=152 |isbn=0-253-20887-4}}</ref> Almost all of the scenes not set in the Zone are in [[Sepia toning|Sepia]] or a similar high-contrast brown monochrome.

==Soundtrack==
The ''Stalker'' [[film score]] was composed by [[Eduard Artemyev]], who had also composed the scores for Tarkovsky's previous films ''[[Solaris (1972 film)|Solaris]]'' and ''[[The Mirror (1975 film)|The Mirror]]''. For ''Stalker'', Artemyev composed and recorded two different versions of the score. The first score was done with an orchestra alone but was rejected by Tarkovsky. The second score that was used in the final film was created on a synthesizer along with traditional instruments that were manipulated using sound effects.<ref>{{citation |last=Johnson |first=Vida T. |author2=Graham Petrie |title=The Films of Andrei Tarkovsky: A Visual Fugue |publisher=Indiana University Press |year=1994 |page=57 |isbn=0-253-20887-4}}</ref>

In the final film score, the boundaries between music and sound were blurred, as natural sounds and music interact to the point where they are indistinguishable. In fact, many of the natural sounds were not production sounds but were created by Artemyev on his synthesizer.<ref>{{Citation |url=http://www.electroshock.ru/eng/edward/interview/varaldiev/ |title=Russian Composer Edward Artemiev |last=Varaldiev |first=Anneliese |publisher=Electroshock Records |accessdate=2009-06-12}}</ref>

For Tarkovsky, music was more than just a parallel illustration of the visual image. He believed that music distorts and changes the emotional tone of a visual image while not changing the meaning. He also believed that in a film with complete theoretical consistency music will have no place and that instead music is replaced by sounds. According to Tarkovsky, he aimed at this consistency and moved into this direction in ''Stalker'' and ''[[Nostalghia]]''.<ref>{{citation |last=Tarkovsky |first=Andrei |others=translated by Kitty Hunter-Blair |title=Sculpting in Time |publisher=University of Texas Press |year=1987 |pages=158–159 |isbn=0-292-77624-1 |url=https://books.google.com/books?id=u-HRWkL6vnAC}}</ref>

In addition to the original monophonic soundtrack, the Russian Cinema Council (Ruscico) created an alternative [[Surround sound|5.1 surround sound]] track for the 2001 DVD release.<ref name=rusico /> In addition to remixing the mono soundtrack, music and sound effects were removed and added in several scenes. Music was added to the scene where the three are traveling to the Zone on a motorized [[draisine]]. In the opening and the final scene [[Ludwig van Beethoven|Beethoven's]] ''[[Symphony No. 9 (Beethoven)|Ninth Symphony]]'' was removed and in the opening scene in Stalker's house ambient sounds were added, changing the original soundtrack, in which this scene was completely silent except for the sound of a train.<ref>{{Citation|url=http://www.acs.ucalgary.ca/~tstronds/nostalghia.com/TheTopics/newsStalker_RusCiCo.html|title=The RusCiCo Stalker DVD|last=Bielawski|first=Jan |author2=Trond S. Trondsen|date=2001–2002|publisher=Nostalghia.com|accessdate=2009-06-14}}</ref>

===Film score===
{{stack|[[File:Azerbaycan Tar'ı.jpg|thumb|upright|[[Azerbaijani tar]] is used in the ''Stalker'' theme.]]}}
Initially, Tarkovsky had no clear understanding of the musical atmosphere of the final film and only an approximate idea where in the film the music was to be. Even after he had shot all the material he continued his search for the ideal film score, wanting a combination of Oriental and Western music. In a conversation with Artemyev he explained that he needed music that reflects the idea that although the East and the West can coexist, they are not able to understand each other.<ref name="electroshock">{{citation|url=http://www.electroshock.ru/eng/edward/interview/egorova/|title=Edward Artemiev: He has been and will always remain a creator…|last=Egorova|first=Tatyana|publisher=Electroshock Records|accessdate=2009-06-07}}, (originally published in ''Muzikalnaya zhizn'', Vol. 17, 1988)</ref> One of Tarkovsky's ideas was to perform Western music on Oriental instruments, or vice versa, performing Oriental music on European instruments. Artemyev proposed to try this idea with the [[motet]] ''Pulcherrima Rosa'' by an anonymous 14th century Italian composer dedicated to the Virgin Mary.<ref>{{citation |last=Egorova|first=Tatyana|title=Soviet Film Music |publisher=Routledge |year=1997 |pages=249–252 |isbn=3-7186-5911-5 |url=https://books.google.com/books?id=gFeJrPBSV6kC |accessdate=2009-06-07}}</ref>

In its original form Tarkovsky did not perceive the motet as suitable for the film and asked Artemyev to give it an Oriental sound. Later, Tarkovsky proposed to invite musicians from [[Armenian Soviet Socialist Republic|Armenia]] and [[Azerbaijan Soviet Socialist Republic|Azerbaijan]] and to let them improvise on the melody of the motet. A musician was invited from Azerbaijan who played the main melody on a [[Tar (lute)|tar]] based on [[mugham]], accompanied by orchestral background music written by Artemyev.<ref>{{cite web|title=August 26 – International Day of Azerbaijani Mugham|url=http://www.today.az/news/entertainment/93230.html|website=www.today.az|accessdate=15 August 2014}}</ref> Tarkovsky, who, unusually for him, attended the full recording session, rejected the final result as not what he was looking for.<ref name="electroshock" />

Rethinking their approach, they finally found the solution in a theme that would create a state of inner calmness and inner satisfaction, or as Tarkovsky said "space frozen in a dynamic equilibrium". Artemyev knew about a musical piece from [[Indian classical music]] where a prolonged and unchanged background tone is performed on a [[Tanpura (instrument)|tambura]]. As this gave Artemyev the impression of frozen space, he used this inspiration and created a background tone on his synthesizer similar to the background tone performed on the tambura. The tar then improvised on the background sound, together with a [[Western concert flute|flute]] as a European, Western instrument.<ref name="turovskaya">{{citation|last=Turovskaya|first=Maya|title=7½, ili filmy Andreya Tarkovskovo |publisher=Iskusstvo |location=Moscow |year=1991 |isbn=5-210-00279-9|url=http://www.acs.ucalgary.ca/~tstronds/nostalghia.com/TheTopics/Stalker/artemyev.html|accessdate=2009-06-07 |language=Russian}}</ref> To mask the obvious combination of European and Oriental instruments he passed the foreground music through the effect channels of his [[EMS Synthi 100|SYNTHI 100]] synthesizer. These effects included modulating the sound of the flute and lowering the speed of the tar, so that what Artemyev called "the life of one string" could be heard. Tarkovsky was amazed by the result, especially liking the sound of the tar, and used the theme without any alterations in the film.<ref name="electroshock" />

===Sound design===
The title sequence is accompanied by Artemyev's main theme. The opening sequence of the film showing Stalker's room is mostly silent. Periodically one hears what could be a train. The sound becomes louder and clearer over time until the sound and the vibrations of objects in the room give a sense of a train's passing by without the train's being visible. This aural impression is quickly subverted by the muffled sound of Beethoven's ''Ninth Symphony''. The source of this music is unclear, thus setting the tone for the blurring of reality in the film.<ref name="edgeofperception">{{citation|last=Smith|first=Stefan|date=November 2007|title=The edge of perception: sound in Tarkovsky's Stalker|journal=The Soundtrack|publisher=Intellect Publishing|volume=1|issue=1|pages=41–52|doi=10.1386/st.1.1.41_1}}</ref> For this part of the film Tarkovsky was also considering music by [[Richard Wagner]] or the ''[[La Marseillaise|Marseillaise]]''.{{citation needed|date=June 2020}}

In an interview with [[Tonino Guerra]] in 1979, Tarkovsky said that he wanted: <blockquote>"...music that is more or less popular, that expresses the movement of the masses, the theme of humanity's social destiny...But this music must be barely heard beneath the noise, in a way that the spectator is not aware of it."<ref name="toninoguerra" /></blockquote>

In one scene, the sound of a train becomes more and more distant as the sounds of a house, such as the creaking floor, water running through pipes, and the humming of a heater become more prominent in a way that psychologically shifts the audience. While the Stalker leaves his house and wanders around an industrial landscape, the audience hears industrial sounds such as train whistles, ship foghorns, and train wheels. When the Stalker, the Writer, and the Professor set off from the bar in an off-road vehicle, the engine noise merges into an electronic tone. The natural sound of the engine falls off as the vehicle reaches the horizon. Initially almost inaudible, the electronic tone emerges and replaces the engine sound as if time has frozen.<ref name="edgeofperception" />

{{quote box
| quote = I would like most of the noise and sound to be composed by a composer. In the film, for example, the three people undertake a long journey in a railway car. I'd like that the noise of the wheels on the rails not be the natural sound but elaborated upon by the composer with electronic music. At the same time, one mustn't be aware of music, nor natural sounds.
| source = –''Andrei Tarkovsky'', interviewed by [[Tonino Guerra]] in 1979.<ref name="toninoguerra" />
| align = left
| width = 30%
| fontsize = 100%
}}

The journey to the Zone on a motorized draisine features a disconnection between the visual image and the sound. The presence of the draisine is registered only through the clanking sound of the wheels on the tracks. Neither the draisine nor the scenery passing by is shown, since the camera is focused on the faces of the characters. This disconnection draws the audience into the inner world of the characters and transforms the physical journey into an inner journey. This effect on the audience is reinforced by Artemyev's synthesizer effects, which make the clanking wheels sound less and less natural as the journey progresses. When the three arrive in the Zone initially, it appears to be silent. Only after some time, and only slightly audibly can one hear the sound of a distant river, the sound of the blowing wind, or the occasional cry of an animal. These sounds grow richer and more audible while the Stalker makes his first venture into the Zone, initially leaving the professor and the writer behind, and as if the sound draws him towards the Zone. The sparseness of sounds in the Zone draws attention to specific sounds, which, as in other scenes, are largely disconnected from the visual image. Animals can be heard in the distance but are never shown. A breeze can be heard, but no visual reference is shown. This effect is reinforced by occasional synthesizer effects which meld with the natural sounds and blur the boundaries between artificial and alien sounds and the sounds of nature.<ref name="edgeofperception" />

After the three travelers appear from the tunnel, the sound of dripping water can be heard. While the camera slowly pans to the right, a waterfall appears. While the visual transition of the panning shot is slow, the aural transition is sudden. As soon as the waterfall appears, the sound of the dripping water falls off while the thundering sound of the waterfall emerges, almost as if time has jumped. In the next scene Tarkovsky again uses the technique of disconnecting sound and visual image. While the camera pans over the burning ashes of a fire and over some water, the audience hears the conversation of the Stalker and the Writer who are back in the tunnel looking for the professor. Finding the Professor outside, the three are surprised to realize that they have ended up at an earlier point in time. This and the previous disconnection of sound and the visual image illustrate the Zone's power to alter time and space. This technique is even more evident in the next scene where the three travelers are resting. The sounds of a river, the wind, dripping water, and fire can be heard in a discontinuous way that is now partially disconnected from the visual image. When the Professor, for example, extinguishes the fire by throwing his coffee on it, all sounds but that of the dripping water fall off. Similarly, we can hear and see the Stalker and the river. Then the camera cuts back to the Professor while the audience can still hear the river for a few more seconds. This impressionist use of sound prepares the audience for the dream sequences accompanied by a variation of the Stalker theme that has been already heard during the title sequence.<ref name="edgeofperception" />

During the journey in the Zone, the sound of water becomes more and more prominent, which, combined with the visual image, presents the Zone as a drenched world. In an interview Tarkovsky dismissed the idea that water has a symbolic meaning in his films, saying that there was so much rain in his films because it is always raining in Russia.<ref name="edgeofperception" /> In another interview, on the film ''Nostalghia'', however, he said "Water is a mysterious element, a single molecule of which is very photogenic. It can convey movement and a sense of change and flux."<ref>{{citation|last=Mitchell|first=Tony|date=Winter 1982–1983|title=Tarkovsky in Italy|journal=Sight and Sound |publisher=The British Film Institut e|pages=54–56 |url=http://www.acs.ucalgary.ca/~tstronds/nostalghia.com/TheTopics/Tarkovsky_in_Italy.html |accessdate=2009-06-13}}</ref> Emerging from the tunnel called the meat grinder by the Stalker they arrive at the entrance of their destination, the room. Here, as in the rest of the film, sound is constantly changing and not necessarily connected to the visual image. The journey in the Zone ends with the three sitting in the room, silent, with no audible sound. When the sound resumes, it is again the sound of water but with a different timbre, softer and gentler, as if to give a sense of catharsis and hope. The transition back to the world outside the Zone is supported by sound. While the camera still shows a pool of water inside the Zone, the audience begins to hear the sound of a train and [[Maurice Ravel|Ravel's]] ''[[Boléro]]'', reminiscent of the opening scene. The soundscape of the world outside the Zone is the same as before, characterized by train wheels, foghorns of a ship and train whistles. The film ends as it began, with the sound of a train passing by, accompanied by the muffled sound of Beethoven's ''Ninth symphony'', this time the ''[[Ode to Joy]]'' from the final moments of the symphony. As in the rest of the film the disconnect between the visual image and the sound leaves the audience unclear whether the sound is real or an illusion.<ref name="edgeofperception" />

==Reception==
===Critical response===
Upon its release the film's reception was less than favorable. Officials at [[Goskino]], a government group otherwise known as the State Committee for Cinematography, were critical of the film.<ref>Tsymbal E., 2008. ''Tarkovsky, Sculpting the Stalker: Towards a new language of cinema'', London, black dog publishing</ref> On being told that ''Stalker'' should be faster and more dynamic, Tarkovsky replied:{{quote|The film needs to be slower and duller at the start so that the viewers who walked into the wrong theatre have time to leave before the main action starts.}}

The Goskino representative then stated that he was trying to give the point of view of the audience. Tarkovsky supposedly retorted:
{{quote|I am only interested in the views of two people: one is called [[Robert Bresson|Bresson]] and one called [[Ingmar Bergman|Bergman]].<ref>{{Cite book |title=Zona: A Book About a Film About a Journey to a Room |last=Dyer |first=Geoff |date=1987 |publisher=[[Canongate]] |location=[[Edinburgh]] |page=13 |isbn=978-0-85786-167-2|title-link=Zona: A Book About a Film About a Journey to a Room }}</ref>}}

More recently, reviews of the film have been highly positive. It earned a place in the [[British Film Institute]]'s "50 Greatest Films of All Time" poll conducted for ''[[Sight & Sound]]'' in September 2012. The group's critics listed ''Stalker'' at #29, tied with the [[1985 in film|1985 film]] ''[[Shoah (film)|Shoah]]''.<ref name="BFI Top 50 2012">{{cite web|url=http://www.bfi.org.uk/news/50-greatest-films-all-time|title=The 50 Greatest Films of All Time|author=Christie, Ian|date=29 July 2015|work=[[Sight & Sound]]|others=Contributors to ''[[Sight & Sound]]'' magazine.|orig-year=2012|via=[[British Film Institute]]|accessdate=2015-12-19}}</ref> Critic [[Derek Adams]] of the ''Time Out Film Guide'' has compared ''Stalker'' to [[Francis Ford Coppola]]'s ''[[Apocalypse Now]]'', also released in 1979, and argued that "as a journey to the [[Heart of Darkness|heart of darkness]]" ''Stalker'' looks "a good deal more persuasive than Coppola's."<ref>Adams, Derek (2006). ''[http://www.timeout.com/film/reviews/75240/stalker.html Stalker]'', Time Out Film Guide</ref> ''[[Slant Magazine]]'' reviewer Nick Schager has praised the film as an "endlessly pliable allegory about [[human consciousness]]". In Schager's view, ''Stalker'' shows "something akin to the essence of what man is made of: a tangled knot of memories, fears, fantasies, nightmares, paradoxical impulses, and a yearning for something that's simultaneously beyond our reach and yet intrinsic to every one of us."<ref name=slant>{{cite web|url=http://www.slantmagazine.com/film/review/stalker|title=Stalker|author=Nick Schager|date=25 April 2006|work=Slant Magazine|accessdate=2016-03-13}}</ref>

On [[review aggregator]] [[Rotten Tomatoes]], the film is rated at 100% based on 41 reviews with an average rating of 8.57/10. Its critical consensus states, "''Stalker'' is a complex, oblique parable that draws unforgettable images and philosophical musings from its sci-fi/thriller setting."<ref>{{cite web |url=https://www.rottentomatoes.com/m/1043378_stalker?|title=Stalker (1979) |website=[[Rotten Tomatoes]] |accessdate=2018-07-01}}</ref>

===Box office===
''Stalker'' sold 4.3 million tickets in the Soviet Union.<ref name=bo>{{citation|last=Segida|first=Miroslava |author2=Sergei Zemlianukhin|title=Domashniaia sinemateka: Otechestvennoe kino 1918–1996|publisher=Dubl-D|year=1996|language=Russian}}</ref>

===Awards===
The film was awarded the ''Prize of the Ecumenical Jury'' at the [[Cannes Film Festival]], and the ''Audience Jury Award – Special Mention'' at [[Fantasporto]], [[Portugal]].{{citation needed|date=June 2020}}

==Home media==
* In [[East Germany]], [[DEFA]] did a complete German [[Dubbing (filmmaking)|dubbed]] version of the movie which was shown in cinema in 1982. This was used by Icestorm Entertainment on a DVD release, but was heavily criticized for its lack of the original language version, subtitles and had an overall bad image quality.{{citation needed|date=June 2020}}
* RUSCICO produced a version for the international market containing the film on two DVDs with remastered audio and video. It contains the original Russian audio in an enhanced [[Dolby Digital]] 5.1 remix as well as the original mono version. The DVD also contains subtitles in 13 languages and interviews with cameraman [[Alexander Knyazhinsky]], painter and production designer Rashit Safiullin and composer [[Eduard Artemyev]].<ref name="rusico">[http://www.ruscico.com/catalog/cataloguedvd/catalogue_195.html R·U·S·C·I·C·O-DVD of Stalker] {{webarchive|url=https://web.archive.org/web/20121015180306/http://www.ruscico.com/catalog/cataloguedvd/catalogue_195.html |date=15 October 2012 }}</ref>
* [[Criterion Collection]] released a remastered edition DVD and Blu-Ray on 17 July 2017. Included in the special features is an interview with film critic [[Geoff Dyer]], author of the book ''[[Zona: A Book About a Film About a Journey to a Room]]''. {{cite web|title=Stalker (1979) The Criterion Collection|url=https://www.criterion.com/films/28150-stalker|accessdate=2020-08-22}}

==Influence and legacy==
*In the song Dissidents from the 1984 album [[The Flat Earth]] by [[Thomas Dolby]], the bridge between two verses includes a narrative from the film.{{citation needed|date=June 2020}}
* The track entitled The Avenue by British Group [[Orchestral Manoeuvres in the Dark]] [[Sampling (music)|samples]] the sound of a train in motion, recorded directly from the film. Band member and songwriter [[Andy McCluskey]] refers to the film as, “One of the most haunting pieces of film and music that I ever saw". The track features as a B-side on the group's 1984 hit single [[Locomotion (Orchestral Manoeuvres in the Dark song)|Locomotion]].<ref>{{cite web|url=http://www.omd-messages.co.uk/club-66-the-avenue/ |title=Club 66 : The Avenue|publisher=omd-messages.co.uk |date=2011-02-01 |accessdate=2020-07-27}}</ref>
*The [[Chernobyl disaster]], which occurred seven years after the film was made, led to depopulation in the surrounding area—officially called the "[[Chernobyl Exclusion Zone|Exclusion Zone]]"—much like the "Zone" of the film. Some of the people employed to take care of the abandoned nuclear power plant refer to themselves as "stalkers".<ref>{{cite web|url=http://www.johncoulthart.com/feuilleton/?p=1125 |title=Johncoulhart.com article |publisher=Johncoulthart.com |date=2006-12-07 |accessdate=2014-01-19}}</ref>
*''Stalker'' was the inspiration for the 1995 [[Stalker (album)|album of the same title]] by [[Robert Rich (musician)|Robert Rich]] and [[Lustmord|B. Lustmord]],<ref>{{cite web|url=https://www.sputnikmusic.com/review/33806/Robert-Rich--B.-Lustmord-Stalker//?p=1125 |title=Robert Rich & B. Lustmord - Stalker |publisher=sputnikmusic.com |date=2009-12-04 |accessdate=2017-02-12}}</ref> which has been noted for its eerie soundscapes and dark ambience.<ref>{{cite web|url=http://www.expose.org/index.php/articles/display/robert-rich-b.lustmord-stalker-21.html |title=Robert Rich / B.Lustmord — Stalker |publisher=Exposé |date=1996-08-01 |accessdate=2017-02-12}}</ref>
*Ambient music duo [[Stars of the Lid]] sampled the ending of ''Stalker'' in their song "Requiem for Dying Mothers, Part 2", released on their 2001 album ''[[The Tired Sounds of Stars of the Lid]]''.
*[[The Prodigy]]'s music video "[[Breathe (The Prodigy song)|Breathe]]" is heavily influenced by film's visuals and cinematography.{{citation needed|date=June 2020}}
*In 2007, the Ukrainian video-game developer GSC Game World published ''[[S.T.A.L.K.E.R.: Shadow of Chernobyl]]'', an open-world, [[first-person shooter]] loosely based on both the film and the original novel.{{citation needed|date=June 2020}}
*In 2012, the English writer [[Geoff Dyer]] published ''Zona: A Book About a Film About a Journey to a Room'' drawing together his personal observations as well as critical insights about the film and the experience of watching it.{{citation needed|date=June 2020}}
*The 2012 film ''[[Chernobyl Diaries]]'' also involves a tour guide, similar to a stalker, giving groups "extreme tours" of the Chernobyl area.{{citation needed|date=June 2020}}
*The lyrics of the 2013 album ''[[Pelagial]]'' by the progressive metal band [[The Ocean (band)|The Ocean]] are inspired by the film.<ref name=metalsucks>{{cite web|last=Mustein|first=Dave|title=The Ocean Collective Explore Every Imaginable Zone With ''Pelagial''|url=http://www.metalsucks.net/2013/04/08/the-ocean-collective-explore-every-imaginable-zone-with-pelagial/|date=8 April 2013|website=[[MetalSucks]] |accessdate=2013-05-09}}</ref>
*[[Jonathan Nolan]], co-creator of ''[[Westworld (TV Series)|Westworld]]'', cites ''Stalker'' as an influence on his work for the HBO series.<ref>{{cite web|url=https://www.facebook.com/WestworldHBO/videos/1763104840625568/ |title=Facebook Live discussing Westworld moderated by The Atlantic's Christopher Orr |date=2016-10-09 |accessdate=2017-02-15}}</ref>
*In the 2017 film ''[[Atomic Blonde]]'', the protagonist Lorraine Broughton goes into an East Berlin theater showing ''Stalker''.{{citation needed|date=June 2020}}
*''[[Metro Exodus]]'' video game include location reconstructed from the movie. The whole [[Metro (franchise)|''Metro'' video game series]] is partly influenced by the novel ''[[Roadside Picnic]]'' on which the film was based.{{citation needed|date=June 2020}}
* ''[[Annihilation (film)|Annihilation]]'' (2018), a science fiction psychological horror film written and directed by [[Alex Garland]], although based on the [[Annihilation (VanderMeer novel)|eponymous novel]] by [[Jeff VanderMeer]], for some critics seems to have obvious similarities with the ''Roadside Picnic'' and ''Stalker''.<ref name="Vishnevetsky-A.V. Club">{{cite web |author1=Ignatiy Vishnevetsky |title=What Annihilation learned from Andrei Tarkovsky's Soviet sci-fi classics |url=https://www.avclub.com/what-annihilation-learned-from-andrei-tarkovsky-s-sovie-1819005171 |website=The A.V. Club |accessdate=2020-03-08 |language=en-us |date=24 February 2018}}</ref><ref name="Lindstrom-PopMatters">{{cite web |author1=Alex Lindstrom |title=Fear and Loathing in the Zone: Annihilation's Dreamy 'Death Drive' |url=https://www.popmatters.com/annihilation-fear-and-loathing-2573291244.html?rebelltitem=8#rebelltitem8 |website=PopMatters |accessdate=2020-03-08 |language=en |date=11 June 2018}}</ref><ref name="fantasyliterature">{{cite web |author1=Stuart Starosta |title=Roadside Picnic: Russian SF classic with parallels to Vandermeer's Area X {{!}} Fantasy Literature: Fantasy and Science Fiction Book and Audiobook Reviews |url=http://www.fantasyliterature.com/reviews/roadside-picnic/ |website=fantasyliterature.com |accessdate=2020-03-08 |date=2 December 2015}}</ref><ref name="Film-School-Rejects">{{cite web |author1=Christopher Campbell |title=Watch 'Annihilation' and 'Mute,' Then Watch These Movies |url=https://filmschoolrejects.com/movies-to-watch-annihilation-and-mute/ |website=Film School Rejects |accessdate=2020-03-08 |date=24 February 2018}}</ref> While [[Nerdist Industries]]' Kyle Anderson notes even stronger resemblance with the 1927 short story "[[The Colour Out of Space]]" by [[H. P. Lovecraft]]<ref>{{cite web |last= Anderson |first= Kyle |date=2018-02-21 |title= Annihilation is a Scary, Cosmic Trip (Review) |url= https://nerdist.com/annihilation-review-alex-garland-natalie-portman/ |website= Nerdist |publisher= [[Nerdist Industries]] |accessdate=2018-03-10 |archive-url= https://web.archive.org/web/20180311140828/https://nerdist.com/annihilation-review-alex-garland-natalie-portman/ |archive-date=2018-03-11 |url-status= dead }}</ref> (also adapted for the screen as [[Color Out of Space (film)|Color Out of Space]] in 2019), about a meteorite that lands in a swamp and unleashes a [[mutagenic]] plague.<ref name="mf" />

:Chris McCoy of the ''[[Memphis Flyer]]'' found the film (''Annihilation'') reminiscent both of "The Colour Out of Space", as well as the novel (''Roadside Picnic'') and its film adaptation (''Stalker'').<ref name="mf">{{cite magazine |last= McCoy| first= Chris| date= 2018-03-02| title= Annihilation|url=https://www.memphisflyer.com/memphis/annihilation/Content?oid=11515951|magazine=[[Memphis Flyer]] |publisher= Contemporary Media |accessdate=2018-03-10}}</ref> However, such notions prompted the author of the ''Annihilation'' novel, upon which the movie is based, to state that his story "is 100% NOT a tribute to Picnic/Stalker" via his official Twitter account.<ref name="@jeffvandermeer">{{cite web |last1=VanderMeer |first1=Jeff |title=Annihilation is 100% NOT a tribute to Picnic/Stalker. But I keep hearing Tanis = Annihilation. Why? |url=https://twitter.com/jeffvandermeer/status/754674019174060032 |website=@jeffvandermeer |accessdate=2020-03-08 |language=en |date=17 July 2016}}</ref>

==Notes==
{{reflist|group=n}}

==References==
{{Reflist}}

==External links==
{{wikiquote}}
* {{IMDb title|0079944}}
* {{AllMovie title|111585}}
* {{rotten-tomatoes|id=1043378_stalker|title=Stalker}}
* [https://www.youtube.com/watch?v=TGRDYpCmMcM ''Stalker''], released on official [[Mosfilm]] [[YouTube]] channel, with subtitles in multiple languages
* [http://www.acs.ucalgary.ca/~tstronds/nostalghia.com/TheTopics/Stalker/stalker_links.html ''Stalker''] at Nostalghia.com, a website dedicated to Tarkovsky, featuring interviews with members of the production team
* [http://www.geopeitus.ee/?p=350&c=335 Geopeitus.ee] – filming locations of ''Stalker'' {{in lang|et}}
* [http://www.cinephiliabeyond.org/unique-perspective-making-stalker-testimony-mechanic-toiling-away-tarkovskys-guidance A unique perspective on the making of Stalker: The testimony of a mechanic toiling away under Tarkovsky's guidance] – article on the production of Stalker
*[https://www.criterion.com/current/posts/4739-stalker-meaning-and-making ''Stalker: Meaning and Making''] an essay by Mark Le Fanu at the [[Criterion Collection]]

{{Andrei Tarkovsky|state=autocollapse}}
{{Arkady and Boris Strugatsky|state=autocollapse}}
{{S.T.A.L.K.E.R. Series|state=autocollapse}}
{{Authority control}}

{{DEFAULTSORT:Stalker (1979 Film)}}
[[Category:1970s avant-garde and experimental films]]
[[Category:1970s science fiction drama films]]
[[Category:1979 films]]
[[Category:Existentialist works]]
[[Category:Films about religion]]
[[Category:Films based on Russian novels]]
[[Category:Films based on science fiction novels]]
[[Category:Films based on works by Arkady and Boris Strugatsky]]
[[Category:Films directed by Andrei Tarkovsky]]
[[Category:Films scored by Eduard Artemyev]]
[[Category:Films shot in Estonia]]
[[Category:Films shot in Moscow]]
[[Category:Films shot in Tajikistan]]
[[Category:Films partially in color]]
[[Category:Metaphysical fiction films]]
[[Category:Mosfilm films]]
[[Category:Rail transport films]]
[[Category:Russian-language films]]
[[Category:Russian science fiction drama films]]
[[Category:Soviet avant-garde and experimental films]]
[[Category:Soviet films]]
[[Category:Soviet science fiction drama films]]
[[Category:1979 drama films]]

Love Is Colder Than Death (film)

2020-12-23T15:46:51Z

Invulgo: /* Plot */ Changed the pejorative term 'whore' to 'prostitute' which is more in keeping with the neutral tone required for a plot summary

{{Infobox film
| name =Love Is Colder Than Death
| image =Liebe_ist_kälter.jpg
| image_size =
| caption =Theatrical release poster
| director =[[Rainer Werner Fassbinder]]
| producer =[[Peer Raben]] [[Thomas Schamoni]]
| writer =Rainer Werner Fassbinder
| narrator =
| starring =Rainer Werner Fassbinder [[Ulli Lommel]] [[Hanna Schygulla]] 
| music = [[Holger Münzer]] [[Peer Raben]]
| cinematography = [[Dietrich Lohmann]]
| editing =
| distributor =
| released = 26 June 1969 ([[Berlin International Film Festival]])
| runtime = 88 minutes
| country = West Germany
| language = German
| budget = [[DEM]] 95,000
| gross =
| preceded_by =
| followed_by =
}}
'''''Love is Colder Than Death''''' ({{lang-de|'''Liebe ist kälter als der Tod'''}}) is a 1969 West German [[black-and-white]] film directed by [[Rainer Werner Fassbinder]], his first feature film. In the original theater presentation in Berlin the title was first ''Kälter als der Tod''; at the beginning of film production, it was ''Liebe – kälter als der Tod'' as on some film posters. The cinematographer [[Dietrich Lohmann]] and the cast as an ensemble won an award at the [[German Film Awards]] in 1970.

==Plot==
Petty hood Franz (Fassbinder) refuses to join the syndicate, where he meets a handsome young thug called Bruno (Lommel) and gives him his address in [[Munich]]. It is the flat of the prostitute Joanna (Schygulla), where Franz lives as her pimp. Bruno has been ordered by the syndicate to follow Franz and on going to the address is told he has moved. So he goes round the streets of the city asking prostitutes if they know a prostitute called Joanna.

Eventually he finds where the pair are hiding, because Franz is being sought by a Turk for killing his brother. Bruno offers to solve the problem, so the three go to the café where the Turk can be found and shoot him. As they leave, Bruno also shoots the waitress who is the only witness. Franz is picked up by the police for both killings and, while he is held for questioning, Joanna starts an affair with Bruno.

When Franz is freed because the police have no evidence, the three then plan a bank robbery. As they arrive outside, plain clothes police appear and Bruno is killed in a shootout while Franz and Joanna get away. In the car she tells him she had tipped the cops off about the robbery. He says "Nutte" [whore] and keeps on driving as the film fades to white.<ref>Thomas Elsaesser, ''Fassbinder's Germany: History, Identity, Subject'' (Amsterdam University Press, 1996; {{ISBN|9053560599}}), p. 267.</ref><ref>Wallace Steadman Watson, ''Understanding Rainer Werner Fassbinder: Film as Private and Public Art'' (Univ. of South Carolina Press, 1996; {{ISBN|1570030790}}), p. 69.</ref><ref>Laurence Kardish (ed.), ''Rainer Werner Fassbinder'' (Museum of Modern Art, 1997; {{ISBN|0870701096}}), p. 42.</ref>

==Cast==
{{div col}}
* [[Ulli Lommel]] – Bruno
* [[Rainer Werner Fassbinder]] – Franz
* [[Hanna Schygulla]] – Joanna
* Katrin Schaake – Woman on train
* Liz Soellner – Newspaper Saleswoman
* Gisela Otto – Prostitute
* Ursula Strätz – Prostitute
* Monika Stadler – Waitress
* Hans Hirschmüller – Peter
* Les Olvides – Georges
* [[Peer Raben]] – Jürgen
* Howard Gaines – Raoul
* Peter Moland – Interrogator
* [[Kurt Raab]] – Department Store Detective
* [[Peter Berling]] – Weapons Seller
* Anastassios Karalas – Turkish Man
{{div col end}}

==Reception==
Initial reception was generally negative, and the film was even booed at the [[19th Berlin International Film Festival]] in 1969.<ref>{{cite web|url=http://www.cinematheque.bc.ca/archives/fassbind.html|title=Rainer Werner Fassbinder|work=Cinematheque.bc.ca|archiveurl=https://web.archive.org/web/20060826081810/http://www.cinematheque.bc.ca/archives/fassbind.html|archivedate=2006-08-26|url-status=dead}}</ref> Today, however, it is seen{{according to whom|date=December 2018}} as a fine example of Fassbinder's early style, with a heavy '[[nouvelle vague]]' influence.

The film is dedicated to "[[Claude Chabrol]], [[Éric Rohmer]], [[Straub-Huillet|Jean-Marie Straub]], Linio, and Cuncho". The last two refer to the main characters in [[Damiano Damiani]]'s 1966 film ''[[A Bullet for the General]]''. Ulli Lommel's styling (and also the poster artwork) is inspired by Alain Delon in ''[[Le Samouraï]]''.

== References ==
{{Reflist}}

== External links ==
* {{IMDb title|0064588|Love Is Colder Than Death}}
* [http://www.criterion.com/current/posts/2880-eclipse-series-39-early-fassbinder Criterion Collection essay by Michael Koresky]

{{Rainer Werner Fassbinder}}

[[Category:1969 films]]
[[Category:1960s avant-garde and experimental films]]
[[Category:1969 crime films]]
[[Category:German avant-garde and experimental films]]
[[Category:German crime films]]
[[Category:West German films]]
[[Category:German-language films]]
[[Category:Films directed by Rainer Werner Fassbinder]]
[[Category:German black-and-white films]]
[[Category:Gangster films]]
[[Category:Films about prostitution in Germany]]
[[Category:Films set in Munich]]
[[Category:1969 directorial debut films]]

Love Is Colder Than Death (film)

2020-12-23T15:03:51Z

Invulgo: Removed Ingrid Caven from main info box as a 'starring' role as her character (a prostitute) is very minor and officially 'uncredited' according to IMDb

{{Infobox film
| name =Love Is Colder Than Death
| image =Liebe_ist_kälter.jpg
| image_size =
| caption =Theatrical release poster
| director =[[Rainer Werner Fassbinder]]
| producer =[[Peer Raben]] [[Thomas Schamoni]]
| writer =Rainer Werner Fassbinder
| narrator =
| starring =Rainer Werner Fassbinder [[Ulli Lommel]] [[Hanna Schygulla]] 
| music = [[Holger Münzer]] [[Peer Raben]]
| cinematography = [[Dietrich Lohmann]]
| editing =
| distributor =
| released = 26 June 1969 ([[Berlin International Film Festival]])
| runtime = 88 minutes
| country = West Germany
| language = German
| budget = [[DEM]] 95,000
| gross =
| preceded_by =
| followed_by =
}}
'''''Love is Colder Than Death''''' ({{lang-de|'''Liebe ist kälter als der Tod'''}}) is a 1969 West German [[black-and-white]] film directed by [[Rainer Werner Fassbinder]], his first feature film. In the original theater presentation in Berlin the title was first ''Kälter als der Tod''; at the beginning of film production, it was ''Liebe – kälter als der Tod'' as on some film posters. The cinematographer [[Dietrich Lohmann]] and the cast as an ensemble won an award at the [[German Film Awards]] in 1970.

==Plot==
Petty hood Franz (Fassbinder) refuses to join the syndicate, where he meets a handsome young thug called Bruno (Lommel) and gives him his address in [[Munich]]. It is the flat of the prostitute Joanna (Schygulla), where Franz lives as her pimp. Bruno has been ordered by the syndicate to follow Franz and on going to the address is told he has moved. So he goes round the streets of the city asking prostitutes if they know a whore called Joanna.

Eventually he finds where the pair are hiding, because Franz is being sought by a Turk for killing his brother. Bruno offers to solve the problem, so the three go to the café where the Turk can be found and shoot him. As they leave, Bruno also shoots the waitress who is the only witness. Franz is picked up by the police for both killings and, while he is held for questioning, Joanna starts an affair with Bruno.

When Franz is freed because the police have no evidence, the three then plan a bank robbery. As they arrive outside, plain clothes police appear and Bruno is killed in a shootout while Franz and Joanna get away. In the car she tells him she had tipped the cops off about the robbery. He says "Nutte" [whore] and keeps on driving as the film fades to white.<ref>Thomas Elsaesser, ''Fassbinder's Germany: History, Identity, Subject'' (Amsterdam University Press, 1996; {{ISBN|9053560599}}), p. 267.</ref><ref>Wallace Steadman Watson, ''Understanding Rainer Werner Fassbinder: Film as Private and Public Art'' (Univ. of South Carolina Press, 1996; {{ISBN|1570030790}}), p. 69.</ref><ref>Laurence Kardish (ed.), ''Rainer Werner Fassbinder'' (Museum of Modern Art, 1997; {{ISBN|0870701096}}), p. 42.</ref>

==Cast==
{{div col}}
* [[Ulli Lommel]] – Bruno
* [[Rainer Werner Fassbinder]] – Franz
* [[Hanna Schygulla]] – Joanna
* Katrin Schaake – Woman on train
* Liz Soellner – Newspaper Saleswoman
* Gisela Otto – Prostitute
* Ursula Strätz – Prostitute
* Monika Stadler – Waitress
* Hans Hirschmüller – Peter
* Les Olvides – Georges
* [[Peer Raben]] – Jürgen
* Howard Gaines – Raoul
* Peter Moland – Interrogator
* [[Kurt Raab]] – Department Store Detective
* [[Peter Berling]] – Weapons Seller
* Anastassios Karalas – Turkish Man
{{div col end}}

==Reception==
Initial reception was generally negative, and the film was even booed at the [[19th Berlin International Film Festival]] in 1969.<ref>{{cite web|url=http://www.cinematheque.bc.ca/archives/fassbind.html|title=Rainer Werner Fassbinder|work=Cinematheque.bc.ca|archiveurl=https://web.archive.org/web/20060826081810/http://www.cinematheque.bc.ca/archives/fassbind.html|archivedate=2006-08-26|url-status=dead}}</ref> Today, however, it is seen{{according to whom|date=December 2018}} as a fine example of Fassbinder's early style, with a heavy '[[nouvelle vague]]' influence.

The film is dedicated to "[[Claude Chabrol]], [[Éric Rohmer]], [[Straub-Huillet|Jean-Marie Straub]], Linio, and Cuncho". The last two refer to the main characters in [[Damiano Damiani]]'s 1966 film ''[[A Bullet for the General]]''. Ulli Lommel's styling (and also the poster artwork) is inspired by Alain Delon in ''[[Le Samouraï]]''.

== References ==
{{Reflist}}

== External links ==
* {{IMDb title|0064588|Love Is Colder Than Death}}
* [http://www.criterion.com/current/posts/2880-eclipse-series-39-early-fassbinder Criterion Collection essay by Michael Koresky]

{{Rainer Werner Fassbinder}}

[[Category:1969 films]]
[[Category:1960s avant-garde and experimental films]]
[[Category:1969 crime films]]
[[Category:German avant-garde and experimental films]]
[[Category:German crime films]]
[[Category:West German films]]
[[Category:German-language films]]
[[Category:Films directed by Rainer Werner Fassbinder]]
[[Category:German black-and-white films]]
[[Category:Gangster films]]
[[Category:Films about prostitution in Germany]]
[[Category:Films set in Munich]]
[[Category:1969 directorial debut films]]

Poor Cow

2020-12-23T14:36:59Z

Invulgo: Changed opening paragraph definition or 'Poor cow' as being of 'British slang' origin as opposed to 'Cockney' slang (there is no evidence to support the term being the latter)

{{For|the novel|Poor Cow (novel)}}
{{Use British English|date=April 2016}}
{{Use dmy dates|date=April 2016}}
{{Short description|British film directed by Ken Loach}}
{{Infobox film
| name = Poor Cow
| image = Poor Cow DVD cover.jpg
| caption = DVD cover for ''Poor Cow''
| director = [[Ken Loach]]
| producer = Joseph Janni Edward Joseph '''executive''' Nat Cohen
| screenplay = [[Nell Dunn]] Ken Loach
| based_on = {{based on|''Poor Cow'' (novel)|Nell Dunn}}
| starring = [[Terence Stamp]] [[Carol White]] [[John Bindon]] [[Queenie Watts]] [[Kate Williams (actress)|Kate Williams]] [[Billy Murray (actor)|Billy Murray]]
| editing = Roy Watts
| music = [[Donovan]]
| cinematography = Brian Probyn
| studio = Vic Films Productions
| distributor = [[Anglo-Amalgamated]] {{small|(UK)}} National General {{small|(US)}}
| released = {{film date|df=y|1967|12|05|UK}}
| runtime = 101 min
| country = United Kingdom
| language = English
| budget = £210,000<ref name="walker">Alexander Walker, ''Hollywood, England'', Stein and Day, 1974 p377</ref>
| gross = $1,400,000 (US/ Canada)<ref>"Big Rental Films of 1968", ''Variety'', 8 January 1969 p 15. Please note this figure is a rental accruing to distributors.</ref>
}}

'''''Poor Cow''''' is a 1967 British [[Kitchen sink realism|Kitchen Sink]] drama directed by [[Ken Loach]] and based on [[Nell Dunn]]'s [[Poor Cow (novel)|novel of the same name]]. It was Ken Loach's first feature film, after a series of TV productions. Set in London, the [[Winstanley_Estate|Winstanley and York Road Estates]] in [[Battersea]] were amongst the locations featured prominently in the background.<ref>{{cite web |title=The Winstanley Plays Itself |url=https://vimeo.com/102127150}}</ref> <ref>{{cite web |title=Cinematic Depictions of Battersea |url=https://www.cam.ac.uk/research/features/cinematic-geographies-of-battersea}}</ref> The title is a [[British slang]] expression, with the word "cow" referring to a woman.

The film was re-released in the UK in 2016.<ref>{{cite web|url=https://www.bfi.org.uk/news-opinion/sight-sound-magazine/features/love-letter-carol-white|title=A love letter to Carol White|first=Catharine|last=Des Forges|date=2016|access-date=11 April 2020}}</ref>

==Plot==
18-year-old Joy, who comes from a big family with a heavy drinking mother and womanising father, leaves home to marry Tom and they have a son, Johnny. Tom mentally and physically abuses Joy and shows little interest or affection. He has been in prison for four years and, when he is jailed again after being caught attempting a big robbery, they are left on their own.

After briefly sharing a room with her Aunt Emm, an ageing prostitute, she moves in with Dave, one of Tom's criminal associates. Dave is tender and understanding, but the idyll is shattered when he is sentenced to 12 years' imprisonment for leading a robbery which results in a woman being blinded, and given his long criminal record. Intending to be faithful to him, Joy moves back with Aunt Emm, writes to him frequently, and initiates divorce proceedings against Tom.

However, after taking a job as a barmaid, she starts modelling for a seedy photographers' club and drifts into promiscuity. She likes men giving her presents but is too impulsive and easygoing to make a living as a prostitute. She is bored of her humdrum surroundings and dreams of bettering herself. When Tom is released, Joy goes back to him after he promises to move her from her small grotty flat to a modern well-furnished house. However, one evening, after Tom has slapped her several times, she goes out and, when she returns, she finds Tom watching the TV and Johnny missing. After a frantic search, she finds him alone on a demolition site where he has gone to play. Realising how much Johnny means to her, she decides to stay with Tom despite the abuse, but continues to dream of a future with Dave.

==Main cast==
{{Cast listing|
* [[Carol White]] as Joy
* [[Terence Stamp]] as Dave
* [[John Bindon]] as Tom
* [[Queenie Watts]] as Aunt Emm
* [[Kate Williams (actress)|Kate Williams]] as Beryl
* [[Billy Murray (actor)|Billy Murray]] as Tom's mate
* [[Tony Selby]] as Customer in Pub
* [[Anna Karen]] as Neighbour
* [[Michael Standing (actor)|Michael Standing]] as Young Man in Field
'''Credited despite scenes being cut'''
* [[Malcolm McDowell]] as Billy
* [[George Sewell]] as Customer in Pub
}}

==Production==
Terence Stamp says Ken Loach was inspired to write the film after meeting Carol White during ''[[Cathy Come Home]]'':
<blockquote>But he really didn’t write it; we didn’t really have a script. That was one of the things that was interesting about it. It was just wholly improvised. He had the idea, he had the overall trajectory in his mind, but we didn’t have a script. And, consequently, it had to be Take One because each of us had cameras on us. So before a take, he’d say something to Carol, and then he would say something to me, and we only discovered once the camera was rolling that he’d given us completely different directions. That’s why he needed two cameras, because he needed the confusion and the spontaneity.<ref>[http://www.avclub.com/articles/terence-stamp-on-accents-first-takes-and-playing-a,99926/ Sam Adams, "Terence Stamp on accents, first takes, and playing a transsexual ", ''AV Club'' 10 July 2013] accessed 16 July 2013</ref></blockquote>

===Music===
The opening credits attribute the film music to [[Donovan]], although many pop songs like "Funny how love can be" by the Ivy League and "Not Fade Away" by the Rolling Stones from the era are heard in the film. Three Donovan songs are heard in the film, including the title song. The melody of the title song is repeated instrumentally in diverse arrangements in several parts of the film. It was released as single b-side to "[[Jennifer Juniper]]" in early 1968 in a different arrangement and with altered lyrics. For example, the standard release version opens with the line "I dwell in the north in the green country", while the version in the film opens with the line "I dwell in the town in the grey country".

Other songs by Donovan in the film are "Be Not Too Hard" and "[[Colours (Donovan song)|Colours]]", the latter of which is sung by the character played by [[Terence Stamp]].

==Reception==
===Box office===
The film was a surprise success at the box office. It sold to the US for more than its production cost and did extremely well in Italy and Britain.<ref name="walker"/> On the film's re-release in 2016, Kate Muir in ''The Times'' gave the film four stars out of five and described the film as "incredibly moving".<ref>{{cite news|url=https://www.thetimes.co.uk/article/poor-cow-1967-99cr37jzq|work=The Times|date=24 June 2016 |last=Muir|first=Kate|title=Poor Cow (1967)|access-date=11 April 2020}}</ref>

===Critical response===
''[[The Monthly Film Bulletin]]'' was critical of the film, summing it up as a "superficial, slightly patronising incursion into the nether realms of [[social realism]]". The review characterised Loach's direction as an "incongruous mixture of realism and romanticism" that, along with the cinematography, "suffuses the material in a cheery glow of [[lyricism]] that often verges on sentimentality."<ref>{{Cite magazine|magazine=[[The Monthly Film Bulletin]]|title=''Poor Cow'', Great Britain, 1967|volume=35|number=409|date=February 1968|publisher=[[British Film Institute]]|location=London, UK|page=23}}</ref> Writing in ''The Guardian'', [[Richard Roud]] criticised the film as "downright awful" and particularly criticised "the tiresomely obvious documentary shots constantly thrown in to emphasise the ugliness of our couple’s surroundings", although he did praise Terence Stamp's performance as "superb".<ref>{{cite news|url=https://www.theguardian.com/film/2017/dec/08/ken-loach-poor-cow-reviewed-1967|publisher=The Guardian|title=Ken Loach's Poor Cow reviewed - archive, 1967 |last=Roud|first=Richard|date=8 December 1967|access-date=11 April 2020}}</ref>

[[Film criticism#Journalistic criticism|Film critic]] [[Renata Adler]] of ''[[The New York Times]]'' wrote in her review: "''Poor Cow'', which opened yesterday at the Murray Hill and other theaters, begins with some shots of the real birth of a baby, and goes on to become one of those ringingly false. Technicolor British films about working-class life in London. It is not very good; but January has been, in general, a poor month for movies, and it might be a good idea to look at the bright side—which, since the quality of the color makes England look like April in Disneyland, is very bright indeed."<ref>{{cite news|url=https://www.nytimes.com/1968/02/01/archives/the-screen-mrs-alfie-confronts-a-vinyl-worldworkingclass-london.html|first=Renata|last=Adler|authorlink=Renata Adler|title=The Screen: Mrs. Alfie Confronts a Vinyl World:Working-Class London Depicted in 'Poor Cow' Day-Glo Mural Stars Young Carol White|work=[[The New York Times]]|publisher=[[The New York Times Company]]|location=[[New York City]]|date=1 February 1968|accessdate=1 July 2020}}</ref>

==Later use==
Clips of Stamp's performance in ''Poor Cow'' were used to show the early life of Wilson, the character he portrays in [[Steven Soderbergh]]'s film ''[[The Limey]]'' (1999).

==References==
{{reflist}}

==External links==
*{{BFI}}
*{{IMDb title|0062141|Poor Cow}}
* {{MetroLyrics song|donovan|poor-cow}}

{{Ken Loach}}

[[Category:1967 films]]
[[Category:1967 drama films]]
[[Category:British drama films]]
[[Category:British films]]
[[Category:English-language films]]
[[Category:Films about domestic violence]]
[[Category:Films about dysfunctional families]]
[[Category:Films based on British novels]]
[[Category:Films directed by Ken Loach]]
[[Category:Films about prostitution in the United Kingdom]]
[[Category:Films set in London]]
[[Category:Social realism in film]]
[[Category:1967 directorial debut films]]

Rainer Werner Fassbinder

2020-12-23T13:46:56Z

Invulgo: /* Personal life */

{{Distinguish|Fassbender}}
{{short description|German filmmaker, screenwriter and actor}}
{{redir|Fassbinder|the opera singer|Brigitte Fassbaender}}
{{Infobox person
| name = Rainer Werner Fassbinder
| image = PER51895 061.jpg
| caption = Fassbinder in 1980
| birth_date = {{birth date|1945|5|31|df=y}}
| birth_place = [[Bad Wörishofen]], [[Bavaria]], [[Flensburg Government|Germany]]
| death_date = {{death date and age|1982|6|10|1945|5|31|df=y}}
| death_place = [[Munich]], [[West Germany]]
| death_cause = [[Cocaine]] and [[barbiturate]] overdose
| resting_place = Bogenhausener Friedhof, Munich
| occupation = Filmmaker, actor, playwright, theatre director, composer, cinematographer, editor, essayist
| years_active = 1965–1982
| spouse = {{marriage|[[Ingrid Caven]]|1970|1972|end=divorced}}
| website = {{url|fassbinderfoundation.de}}
}}

'''Rainer Werner Fassbinder''' ({{IPA-de|ˈʁaɪ̯nɐ ˈvɛɐ̯nɐ ˈfasˌbɪndɐ|lang}}; 31 May 1945 – 10 June 1982), sometimes credited as '''R. W. Fassbinder''',<ref>{{cite news |url=https://www.bfi.org.uk/news-opinion/news-bfi/features/where-begin-rainer-werner-fassbinder |title=Where to begin with Rainer Werner Fassbinder |work=British Film Institute |access-date=2018-11-19}}</ref> was a [[West Germany|West German]] filmmaker, actor, playwright, theatre director, composer, cinematographer, editor, and essayist. He is widely regarded as a prominent figure and catalyst of the [[New German Cinema]] movement.

His first feature-length film was a gangster movie called ''[[Love Is Colder Than Death (film)|Love Is Colder Than Death]]'' (1969); he scored his first domestic commercial success with ''[[The Merchant of Four Seasons]]'' (1972) and his first international success with ''[[Ali: Fear Eats the Soul]]'' (1974), both of which are considered masterpieces by contemporary critics. Big-budget projects such as ''[[Despair (film)|Despair]]'' (1978), ''[[Lili Marleen (film)|Lili Marleen]]'' and ''[[Lola (1981 film)|Lola]]'' (both 1981) followed.

His greatest success came with ''[[The Marriage of Maria Braun]]'' (1979), chronicling the rise and fall of a German woman in the wake of [[World War II]]. Other notable films include ''[[The Bitter Tears of Petra von Kant]]'' (1972), ''[[Fox and His Friends]]'' (1975), ''[[Satan's Brew]]'' (1976), ''[[In a Year with 13 Moons]]'' (1978), and ''[[Querelle]]'' (1982), all of which focused on [[LGBT|gay and lesbian]] themes.

Fassbinder died on 10 June 1982, at age 37, from a lethal cocktail of [[cocaine]] and [[barbiturate]]s. His career lasted less than two decades, but he was extremely prolific; he completed over 40 feature films, two television series, three short films, four video productions, and 24 plays.

{{TOC limit|limit=3}}

==Early life==
Fassbinder was born in the small town of [[Bad Wörishofen]] on 31 May 1945.<ref>{{harv|Hayman|1984|p=1}}</ref> He was born three weeks after [[Seventh United States Army|US Army]] [[Military occupation|occupied]] the town and the [[End of World War II in Europe|unconditional surrender of Germany]]. The aftermath of [[World War II]] deeply marked his childhood and the lives of his family.<ref>{{harv|Thomsen|2004|p=2}}</ref> In compliance with his mother's wishes, Fassbinder later claimed he was born in 1946, to more clearly establish himself as a child of the post-war period; his real age was revealed shortly before his death.<ref name="Thomsen 3">{{harv|Thomsen|2004|p=3}}</ref> He was the only child of Liselotte Pempeit (1922–93), a translator, and Helmut Fassbinder, a doctor who worked from the couple's apartment in [[Sendlinger Straße]],<ref name="Hayman 2">{{harv|Hayman|1984|p=2}}</ref> near [[Munich]]'s [[red light district]].<ref name="Thomsen 3"/><ref name=" Thomsen 3"/><ref name="Watson 13">{{harv|Watson|1996|p=13}}</ref> When he was three months old, he was left with a paternal uncle and aunt in the country, since his parents feared he would not survive the winter with them. He was one year old when he was returned to his parents in Munich.<ref name="Thomsen 3"/> Fassbinder's mother came from the [[Free City of Danzig]] (now [[Gdańsk]], [[Poland]]), whence many Germans had fled following World War II. As a result, a number of her relatives came to live with them in Munich.

Fassbinder's parents were cultured members of the bourgeoisie. His father mainly concentrated on his career, which he saw as a means to indulge his passion for writing poetry. His mother largely ignored him as well, spending the majority of her time with her husband working on his career. In 1951, Liselotte Pempeit and Helmut Fassbinder divorced. Helmut moved to [[Cologne]] while Liselotte raised her son as a single parent in Munich.<ref name="Watson 13"/> In order to support herself and her child, Pempeit took in boarders and found employment as a German to English translator. When she was working, she often sent her son to the cinema to pass time. Later in life, Fassbinder claimed that he saw at least a film a day, sometimes even four a day. During this period, Pempeit was often away from her son for long periods while she recuperated from [[tuberculosis]].<ref name="Hayman 3">{{harv|Hayman|1984|p=3}}</ref> In his mother's absence, Fassbinder was looked after by his mother's tenants and friends. As he was often left alone, he became used to the independence and thus, became a juvenile delinquent. He clashed with his mother's younger lover Siggi, who lived with them when Fassbinder was around eight or nine years old. He had a similar difficult relationship with the much older journalist Wolff Eder (c.1905–71), who became his stepfather in 1959.<ref>{{harv|Watson|1996|pp=14–15}}</ref> Early in his adolescence, Fassbinder came out as homosexual.<ref>{{harv|Watson|1996|p=15}}</ref>

As a teen, Fassbinder was sent to boarding school. His time there was marred by his repeated escape attempts, and he eventually left school before any final examinations. At the age of 15, he moved to Cologne with his father.<ref>{{harv|Thomsen|2004|p=5}}</ref> Though they argued constantly, Fassbinder stayed with his father for a couple of years while attending night school. To earn money he worked small jobs, and also helped his father who rented shabby apartments to immigrant workers. During his time with his father, Fassbinder began to immerse himself in the world of culture, writing poems, short plays, and stories.<ref name="lorenz48">{{harv|Lorenz|Schmid|Gehr|1997|p=248}}</ref>

==Beginnings==
In 1963, aged eighteen, Fassbinder returned to Munich with plans to attend night school with the idea to eventually study drama. Following his mother's advice, he took acting lessons and from 1964 to 1966 attended the Fridl-Leonhard Studio for actors in Munich.<ref name="lorenz48"/> There, he met [[Hanna Schygulla]], who would become one of his most important actors.<ref>{{harv|Hayman|1984|p=27}}</ref> During this time, he made his first [[8mm film]]s and worked as assistant director, [[Audio engineering|sound man]], or in small acting roles.<ref name="lorenz48"/> During this period, he also wrote the tragic-comic play: ''Drops on Hot Stones''. To gain entry to the [[Deutsche Film- und Fernsehakademie Berlin|Berlin Film School]], Fassbinder submitted a film version of his play ''Parallels''. He also entered several 8 mm films including ''This Night'' (now considered [[Lost film|lost]]),<ref>{{harv|Lorenz|Schmid|Gehr|1997|p=3}}</ref> but he was turned down for admission, as were [[Werner Schroeter]] and [[Rosa von Praunheim]] who would also have careers as film directors.<ref>{{harv|Watson|1996|p=43}}</ref>

He returned to Munich where he continued with his writing. He also made two short films,''The City Tramp'' (''Der Stadtstreicher'', 1966) and ''The Little Chaos'' (''Das Kleine Chaos'', 1967). Shot in [[black and white film|black and white]], they were financed by Fassbinder's lover, Christoph Roser, an aspiring actor, in exchange for leading roles.<ref>{{harv|Hayman|1984|p=29}}</ref> Fassbinder acted in both of these films, which also featured [[Irm Hermann]]. In the latter, his mother – under the name of Lilo Pempeit – played the first of many parts in her son's films.<ref>{{harv|Hayman|1984|p=26}}</ref>

==Theater career==
Fassbinder joined the Munich Action-Theater in 1967; there, he was active as actor, director and scriptwriter. After two months he became the company's leader. In April 1968 he directed the premiere production of his play ''Katzelmacher'', which tells the story of a foreign worker from Greece who becomes the object of intense racial, sexual, and political hatred among a group of Bavarian slackers. A few weeks later, in May 1968, the Action-Theater was disbanded after its theater was wrecked by one of its founders, jealous of Fassbinder's growing power within the group.<ref name=" Elsaesser 301">{{harv|Elsaesser|1996|p=301}}</ref> It promptly reformed as the Anti-Theater under Fassbinder's direction.<ref name=" Elsaesser 301"/> The troupe lived and performed together. This close-knit group of young actors included among them Fassbinder, [[Peer Raben]], [[Harry Baer]] and [[Kurt Raab]], who along with Hanna Schygulla and Irm Hermann became the most important members of his cinematic stock company.<ref name=" Elsaesser 301"/> Working with the Anti-Theater, Fassbinder continued writing, directing and acting. In the space of eighteen months he directed twelve plays. Of these twelve plays, four were written by Fassbinder; he rewrote five others.

The style of his stage directing closely resembled that of his early films, a mixture of choreographed movement and static poses, taking its cues not from the traditions of stage theater, but from musicals, cabaret, films and the student protest movement.

After he made his earliest feature films in 1969, Fassbinder centered his efforts in his career as film director, but maintained an intermittent foothold in the theater until his death. He worked in various productions throughout Germany and made a number of radio plays in the early 1970s. In 1974 Fassbinder took directorial control over the Theater am Turm (TAT) of Frankfurt; when this project ended in failure and controversy, Fassbinder became less interested in theater.

==Early films and acclaim==
Fassbinder used his theatrical work as a springboard for making films; and many of the Anti-Theater actors and crew worked with him throughout his entire career (for instance, he made 20 films each with actresses Hanna Schygulla and Irm Herrmann). He was strongly influenced by Brecht's ''[[Distancing effect|Verfremdungseffekt]]'' (alienation effect) and the [[French New Wave]] cinema, particularly the works of [[Jean-Luc Godard]].<ref>{{harv|Watson|1996|p=111}}</ref><ref>{{harv|Elsaesser|1996|p=348}}</ref> Fassbinder developed his rapid working methods early. Because he knew his actors and technicians so well, Fassbinder was able to complete as many as four or five films per year on extremely low budgets. This allowed him to compete successfully for the government grants needed to continue making films.

Unlike the other major ''auteurs'' of the New German Cinema, [[Volker Schlöndorff]], [[Werner Herzog]] and [[Wim Wenders]], who started out making movies, Fassbinder's stage background was evident throughout his work. Additionally, he learned how to handle all phases of production, from writing and acting to direction and theater management. This versatility surfaced in his films too where, in addition to some of the aforementioned responsibilities, Fassbinder served as composer, production designer, cinematographer, producer and editor. He also appeared in thirty projects of other directors.

By 1976, Fassbinder had gained international prominence, prizes at major [[film festival]]s, premieres and retrospectives in Paris, New York and Los Angeles, and a study of his work by [[Tony Rayns]] had been published. All these factors helped make him a familiar name among cinephiles and campus audiences throughout the world. He lived in Munich when not traveling, rented a house in Paris with ex-wife Ingrid Caven.<ref name="nicodemus">{{cite web |url=http://www.signandsight.com/features/1372.html |title=No morals without style |last=Nicodemus |first=Katja |date=31 May 2007 |publisher=signandsight.com}}</ref> He was often seen in gay bars in New York, earning him cult hero status, but also a controversial reputation in and out of his films. His films were a fixture in art houses of the time after he became internationally known with ''[[Ali: Fear Eats the Soul]]''. In 1977, he was a member of the jury at the [[27th Berlin International Film Festival]].<ref>{{cite web |url=http://www.berlinale.de/en/archiv/jahresarchive/1977/04_jury_1977/04_Jury_1977.html |title=Berlinale 1977: Juries |publisher=berlinale.de |language=de |access-date=19 July 2010}}</ref>

==Film career==
Starting at the age of 21, Fassbinder made forty-four films and television dramas in fifteen years, along with directing fifteen plays for the theatre. These films were largely written or adapted for the screen by Fassbinder. He was also [[art director]] on most of the early films, editor or co-editor on many of them (often credited as Franz Walsh, though the spelling varies), and he acted in nineteen of his own films as well as for other directors.<ref name="Watson 24">{{harv|Watson|1992|p=13}}</ref> He wrote fourteen plays, created new versions of six classical plays, and directed or co-directed twenty-five stage plays. He wrote and directed four radio plays and wrote song lyrics. In addition, he wrote thirty-three screenplays and collaborated with other screenwriters on thirteen more. On top of this, he occasionally performed many other roles such as cinematographer and producer on a small number of them. Working with a regular ensemble of actors and technicians, he was able to complete films ahead of schedule and often under budget and thus compete successfully for government subsidies. He worked fast, typically omitting rehearsals and going with the first take.<ref name="Watson 24"/>

Fassbinder's first ten films (1969–1971) were said to be an extension of his work in the theater, shot usually with a static camera and with deliberately unnaturalistic dialogue.<ref name="sensesofcinema1">{{cite web |url=http://www.sensesofcinema.com/2002/great-directors/fassbinder/ |title=» Rainer Werner Fassbinder |author=Joe Ruffell |work=sensesofcinema.com|date=21 May 2002 }}</ref>

In 1971 through 1977, his films brought him international attention, with films modeled, to ironic effect, on the melodramas [[Douglas Sirk]] made in Hollywood in the 1950s. In these films, Fassbinder explored how deep-rooted prejudices about race, sex, [[sexual orientation]], politics and class are inherent in society, while also tackling his trademark subject of the everyday [[fascism]] of family life and friendship.<ref name="sensesofcinema1"/>

The final films, from around 1977 until his death, were more varied, with international actors sometimes used and the stock company disbanded, although the casts of some films were still filled with Fassbinder regulars.<ref name="sensesofcinema1"/> He became increasingly idiosyncratic in terms of plot, form and subject matter in movies like ''The Marriage of Maria Braun'' (1979), ''The Third Generation'' (1979) and ''Querelle'' (1982). He also articulated his themes in the bourgeois milieu with his trilogy about women in post-[[fascist]] Germany: ''The Marriage of Maria Braun'' (1979), ''The Angst of Veronica Voss'' and ''Lola''.

"I would like to build a house with my films", Fassbinder once remarked. "Some are the cellars, others the walls, still others the windows. But I hope in the end it will be a house."<ref>{{cite journal |last=Ehrenstein |first=David |date=9 July 2002 |title=Rainer's Parade |journal=[[The Advocate (LGBT magazine)|The Advocate]] |publisher=Here Publishing |issue=867 |page=64 |issn=0001-8996 |url=https://books.google.com/books?id=eGQEAAAAMBAJ&q=I+would+like+to+build+a+house+with+my+films+Rainer+Werner+Fassbinder&pg=PA64}}</ref>

Fassbinder's work as a filmmaker was honored in the 2007 exhibition ''Fassbinder: Berlin Alexanderplatz'', which was organized by [[Klaus Biesenbach]] at the Museum of Contemporary Art together with [[Kunst-Werke Institute for Contemporary Art]], Berlin.<ref>{{cite web |url=http://momaps1.org/exhibitions/view/153 |title=Fassbinder: Berlin Alexanderplatz |website=momaps1.org |access-date=26 September 2017}}</ref> For his exhibition at MoMA, Klaus Biesenbach received the [[International Association of Art Critics]] (AICA) award.

===Avant-garde films (1969–1971)===
Working simultaneously in theater and film, Fassbinder created his own style from a fusion of the two artforms. His ten early films are characterized by a self-conscious and assertive [[formalism (film)|formalism]]. Influenced by [[Jean-Luc Godard]], [[Jean-Marie Straub]] and the theories of [[Bertolt Brecht]], these films are austere and minimalist in style. Although praised by many critics, they proved too demanding and inaccessible for a mass audience. Fassbinder's rapid working methods had begun by this stage.

====''Love Is Colder Than Death'' (1969)====
Shot in black and white with a shoestring budget in April 1969, Fassbinder's first feature-length film, ''[[Love Is Colder Than Death (film)|Love Is Colder Than Death]]'' (1969) (''Liebe ist kälter als der Tod''), was a [[deconstruction]] of the American gangster films of the 1930s, 1940s and 1950s. Fassbinder plays the lead role of Franz, a small-time pimp who is torn between his mistress Joanna, a prostitute played by Hanna Schygulla, and his friend Bruno, a gangster sent after Franz by the syndicate that he has refused to join. Joanna informs the police of a bank robbery the two men have planned. Bruno is killed in the shootout, but Franz and Joanna escape.<ref>{{harv|Watson|1996|p=69}}</ref><ref>{{harv|Thomsen|2004|p=66}}</ref>

''Love Is Colder Than Death'' is a low key film with muted tone, long sequences, non-naturalistic acting and little dialogue.<ref>{{harv|Watson|1996|p=71}}</ref><ref>{{harv|Thomsen|2004|p=67}}</ref> Success was not immediate. ''Love Is Colder Than Death'' was ill-received at its premiere at the [[19th Berlin International Film Festival|Berlin Film Festival]]. The film, however, already displays the themes that were to remain present through the director's subsequent work: loneliness, the longing for companionship and love, and the fear and reality of betrayal.<ref>{{harv|Thomsen|2004|p=69}}</ref>

====''Katzelmacher'' (1969)====
Fassbinder's second film, ''[[Katzelmacher]]'' (1969), (Bavarian pejorative slang term for a foreign worker from the Mediterranean), was received more positively, garnering five prizes after its debut at [[Mannheim]]. It features a group of rootless and bored young couples who spend much of their time in idle chatter, empty boasting, drinking, playing cards, intriguing or simply sitting around. The arrival of Jorgos, a guest worker from Greece, leads to a growing curiosity on the part of the women and the antagonism among the men living in a suburban block of apartments in Munich.<ref>{{harv|Thomsen|2004|p=80}}</ref> This kind of social criticism, featuring alienated characters unable to escape the forces of oppression, is a constant throughout Fassbinder's oeuvre. ''Katzelmacher'' was adapted from Fassbinder's first produced play – a short piece that was expanded from forty minutes to feature length, moving the action from a country village to Munich and delaying the appearance of Jorgos.<ref>{{harv|Thomsen|2004|p=79}}</ref>

====''Gods of the Plague'' (1970)====
''[[Gods of the Plague]]'' (''Götter der Pest'') is a bleak gangster film with a winter setting, shot mostly indoors and at night. The character of Franz (from Fassbinder's first film, but now played by Harry Baer) is released from prison, but falls back with the wrong crowd. He teams up with his best friend, a black Bavarian criminal who killed his brother, to raid a supermarket. Both men are betrayed by Franz's jilted lover Joanna who tips off the police. Franz is killed, and the film ends at his laconic funeral.<ref>{{harv|Watson|1996|p=72}}</ref>

Similar in plot and characters to both ''Love is Colder than Death'' (1969) and ''The American Soldier'' (1970), ''Gods of the Plague''{{'}}s theme of homoerotic love would reappear repeatedly in the director's films.<ref>{{harv|Watson|1996|p=73}}</ref>

====''Why Does Herr R. Run Amok?'' (1970)====
The last of the four films Fassbinder shot in 1969, was his first in color, ''[[Why Does Herr R. Run Amok?]]'' ''(Warum läuft Herr R. Amok?)''. It was co-directed by [[Michael Fengler]] (the friend who had been his cameraman on the short film ''The little Chaos'' in 1967). Only the outlines of the scenes were sketched by Fassbinder. Fengler and the cast then improvised the dialogue. Fassbinder asserted that this was really Fengler's work rather than his. Nevertheless, the two were jointly given a directorial award for the project in the 1971 German Film prize competition, and ''Why Does Herr R. Run Amok?'' has always been considered among Fassbinder's films.<ref>{{harv|Watson|1996|p=82}}</ref>

''Why Does Herr R. Run Amok?'' portrays the life of Herr Raab, a technical draughtsman married and with a small child. The pressures of middle-class life take a toll on him. A visit by a woman neighbor occasions the incident that gives the film its title. Irritated by the incessant chat between his wife and her friend while he tries to watch TV, Herr Raab kills the neighbor with a blow to the head with a candle stick and then kills both his wife and their son. Herr Raab is later found hanged in an office restroom.<ref name="Watson 1996 83">{{harv|Watson|1996|p=83}}</ref>

====''The American Soldier'' (1970)====
The main theme of the gangster film ''[[The American Soldier]]'' ''(Der Amerikanische Soldat)'' is that violence is an expression of frustrated love. A sudden frenzied outburst of repressed passion, the revelation of desire and a need for love that has been thwarted and comes too late is central here.<ref>{{harv|Thomsen|2004|p=71}}</ref> The eponymous hit man of the title (actually a German, played by Karl Scheydt) is a cold-blooded contract killer, who returns from [[Vietnam]] to his native Munich, where he is hired by three renegade policemen to do away with a number of undesirables. Eventually he ends up killing the girlfriend of one of the policemen with his friend Franz Walsh (Fassbinder). The film closes with the music of the song "So much tenderness", written by Fassbinder and sung by Gunther Kaufmann. ''The American Soldier'' is the third and final installment of Fassbinder's loose trilogy of gangster pictures formed by ''Love is Colder Than Death'' and ''Gods of the Plague''. It pays homage to the Hollywood gangster genre, and also alludes to [[Southern Gothic]] race narratives.

====''The Niklashausen Journey'' (1970)====
In ''{{Interlanguage link multi|Niklashauser Fart|de|3=Niklashauser Fart|lt=The Niklashausen Journey}}'' (''Die Niklashauser Fahrt''), Fassbinder co-writes and co-directs with Michael Fengler. This avant-garde film, commissioned by the WDR television network, was shot in May 1970 and it was broadcast in October the same year.<ref name="Watson 87">{{harv|Watson|1996|p=87}}</ref>''The Niklashausen Journey'' was loosely based on the real-life of Hans Boehm, a shepherd who in 1476 claimed that the Virgin Mary called him to foment an uprising against the church and upper classes. Despite a temporary success, Boehm's followers were eventually massacred and he was burned at the stake.<ref name="Watson 87"/> Fassbinder's intention was to show how and why revolutions fail.<ref name="Iden 129">{{harv|Iden|1981|p=129}}</ref> His approach was to compare the political and sexual turmoil of feudal Germany with that of the contraculture movement and the [[protests of 1968]]. Fassbinder did not clarify the time frame of the action, mixing medieval elements (including some costumes, settings, speech and music) with those from other time periods, like the Russian Revolution, the [[Rococo]] period, postwar Germany and the [[Third World]].<ref name="Iden 129"/>

''The Niklashausen Journey'', influenced by [[Jean-Luc Godard]]'s ''[[Weekend (1967 film)|Weekend]]'' and [[Glauber Rocha]]'s ''[[Antonio das Mortes]]'', consists of only about a dozen or so scenes, most of which are either theatrical tableaux where there is no movement of the characters and the camera darts from speaker to speaker or are shots where characters pace back and forth while giving revolutionary speeches about Marxist struggles and debates on economic theories.<ref name="Watson 88">{{harv|Watson|1996|p=88}}</ref>

====''Whity'' (1970)====
Set in 1876, ''[[Whity (film)|Whity]]'' centers on the title character, a [[mulatto]] who works as the obsequious servant in the mansion of a dysfunctional family in the American South. He is the illegitimate son of the family patriarch and the black cook. Whity tries to carry out all their orders, however demeaning until several of the family members ask him to kill some of the others. He eventually kills them all and runs away to the desert with a prostitute from the local bar.

The film was shot in [[Almeria]], [[Spain]], in widescreen, on locations built for the Westerns made by [[Sergio Leone]]. Its production was particularly traumatic for cast and crew. ''Whity'', a mixture of Euro-western and American South melodrama, was badly received by the critics and became Fassbinder's biggest flop. The film was neither picked up for theatrical release, nor was there interest for broadcasting it on television. As a result, ''Whity'' was only seen as its premiere. It remained unavailable until the 1990s, when it began to be screened; now, like almost all of Fassbinder's films, it is available on [[DVD]].

====''Rio das Mortes'' (1971)====
A whimsical comedy, ''[[Rio das Mortes (film)|Rio das Mortes]]'' follows two young men without prospects who try to raise money in order to realize their dream of finding a buried treasure in [[Peru]] using a map of the [[Rio das Mortes]]. The girlfriend of one of them finds the notion stupid and wants to put a stop to it, but eventually the two friends find a patroness to finance their adventure.<ref>{{harv|Sandford|1982|p=72}}</ref>

Based on an idea by [[Volker Schlondorff]], ''Rio das Mortes'' was shot in January 1970 following ''[[Why Does Herr R. Run Amok?]]'',<ref name="Watson 1996 83"/> but was broadcast on television a year later in February 1971.<ref>{{harv|Watson|1996|p=294}}</ref> The film feels casually constructed; the humor is bland and the plot has been criticized for its sloppiness and poor character development.<ref>{{cite web |url=https://jclarkmedia.com/fassbinder/fassbinder08.html |title=Fassbinder's Rio das Mortes |last=Clark |first=Jim |date=7 December 2002 |publisher=jclarkmedia.com |access-date=21 June 2013 |url-status=dead |archive-url=https://web.archive.org/web/20130222082657/http://jclarkmedia.com/fassbinder/fassbinder08.html |archive-date=22 February 2013}}</ref><ref name="Thomsen 86">{{harv|Thomsen|2004|p=86}}</ref> ''Rio das Mortes'' is best remembered for a scene unrelated to the plot, as the girlfriend, played by Schygulla, dances to [[Elvis Presley]]'s "[[Jailhouse Rock (song)|Jailhouse Rock]]" on the jukebox in the company of an oafish leather-jacketed youth, played by Fassbinder.<ref name="Thomsen 86"/>

====''Pioneers in Ingolstadt'' (1971)====
''[[Pioneers in Ingolstadt]]'' ''(Pioniere in Ingolstadt)'' was adapted from an [[Pioneers in Ingolstadt|eponymous]] play by [[Marieluise Fleißer]] written in 1927.<ref name="Sandford 74">{{harv|Sandford|1982|p=74}}</ref> It follows two young women whose lives are transformed when army engineers (the pioneers of the title) arrive to their town to build a bridge. One of the women flirts from soldier to soldier, but her friend falls in love only to be abandoned.<ref name="Thomsen 97">{{harv|Thomsen|2004|p=97}}</ref>

Shot in November 1970, ''Pioneers in Ingolstaldt'' was commissioned for television. Fassbinder wanted to bring the plot from the 1920s to contemporary Germany, but the producers, fearing to offend the German army, refused. A compromise did not satisfy any of the parties, and midway through the project Fassbinder lost interest in it.<ref name="Sandford 74"/> The film suffered as a consequence, and it ranks among Fassbinder's weakest films.<ref name="Watson 88"/><ref name="Sandford 75">{{harv|Sandford|1982|p=75}}</ref><ref name="Thomsen 95">{{harv|Thomsen|2004|p=95}}</ref>

The tensions and bitterness that had surrounded the making of ''Whity'' led Fassbinder to dismantle the collective project of the Anti-Theater as a production company. Instead, he founded his own production company: Tango films.<ref name="Sandford 75"/> ''Pioneers in Ingolstadt'', although broadcast before the theatrical release of ''Beware of a Holy Whore'', was the last film made by Fassbinder during his formative period. In the following year, 1971, Fassbinder shot only one film: ''The Merchant of Four Seasons''.<ref name="Sandford 75"/><ref>{{harv|Hayman|1984|p=IX}}</ref><ref>{{harv|Lorenz|Schmid|Gehr|1997|p=326}}</ref><ref>{{harv|Thomsen|2004|p=326}}</ref>

====''Beware of a Holy Whore'' (1971)====
''[[Beware of a Holy Whore]]'' was based, like many of Fassbinder's films, on a personal experience – the shooting of his earlier film, the revisionist western ''Whity'' (1970). The film shows an egomaniacal director, beset by a stalled production, temperamental actors, and a frustrated crew. When asked what the movie he is making is about, he replies: "brutality." The film ends with a typical Fassbinder-esque irony, as the crew gang up on the director. ''Beware of a Holy Whore'' marked the end of Fassbinder's avant-garde period. It presented such an embittered and radical self-critique that his future films would have to be quite different from the ones made before. After spinning out ten films in not much more than a year (this film was shot only a few months after ''Whity'') in a frenzied burst of creativity, his anti-film anti-theater drive seemed to conclude.

===German melodramas (1971–1975)===
After ''Pioneers in Ingolstadt'', Fassbinder took an eight-month break from filmmaking. During this time, he turned for a model to Hollywood melodrama, particularly the films German émigré [[Douglas Sirk]] made in Hollywood for [[Universal Studios|Universal-International]] in the 1950s: ''[[All That Heaven Allows]]'', ''[[Magnificent Obsession (1954 film)|Magnificent Obsession]]'' and ''[[Imitation of Life (1959 film)|Imitation of Life]]''. Fassbinder was attracted to these films not only because of their entertainment value, but also for their depiction of various kinds of repression and exploitation.

====''The Merchant of Four Seasons'' (1971)====
Fassbinder scored his first domestic commercial success with ''[[The Merchant of Four Seasons]]'' (''Händler der vier Jahreszeiten'', 1971).<ref>{{harv|Watson|1996|p=117}}</ref> The film portrays a married couple who are fruit sellers. Hans faces rejection from his family after he violently assaults his wife for not bending to his will. She leaves him, but after he suffers a heart attack they reunite, though he now has to employ other men. His restricted ability to function leads him to ponder his own futility. He literally drinks himself to death.

''The Merchant of Four Seasons'' uses melodrama as a style to create critical studies of contemporary German life for a general audience. It was Fassbinder's first effort to create what he declared he aspired to: a cinematic statement of the human condition that would transcend national boundaries as the films of [[Michelangelo Antonioni]], [[Ingmar Bergman]] and [[Federico Fellini]] had done.<ref name="Pipolo">{{harv|Pipolo|2004|pp=18–25}}</ref> It is also his first realization of what he learned from Sirk: that people, however small they may be, and their emotions, however insignificant they may seem, could be big on the movie screen.<ref name="Pipolo"/>

====''The Bitter Tears of Petra von Kant'' (1972)====
Loneliness is a common theme in Fassbinder's work, together with the idea that power becomes a determining factor in all human relationships. His characters yearn for love, but seem condemned to exert an often violent control over those around them. A good example is ''[[The Bitter Tears of Petra von Kant]]'' (''Die bitteren Tränen der Petra von Kant'', 1972) which was adapted by Fassbinder from his plays. The title character is a fashion designer who lives in a self-created dreamland and the action is restricted mostly to her lavish bedroom. After the failure of her second marriage, Petra falls hopelessly and obsessively in love with Karin, a cunning young working-class woman who wants a career in modeling. The model's exploitation of Petra mirrors Petra's extraordinary psychological abuse of her silent assistant, Marlene. Fassbinder portrays the slow meltdown of these relationships as inevitable, and his actresses (there are no men in the film) move in a slow, trance-like way that hints at a vast world of longing beneath the beautiful, brittle surface.

====''Jailbait'' (1973)====
''{{Interlanguage link multi|Wildwechsel|de|3=Wildwechsel (Film)|lt=Jailbait}}'' (''Wildwechsel'', 1973), also known as ''Wild Game Crossing'', is a bleak story of teenage angst, set in industrial northern Germany during the 1950s. Like in many other of his films, Fassbinder analyses lower middle class life with characters who, unable to articulate their feelings, bury them in inane phrases and violent acts.<ref>{{harv|Watson|1996|p=118}}</ref> Love turns into a power struggle of deception and betrayal. The story centers on Hanni, a precocious fourteen-year-old schoolgirl who starts a relationship with Franz, a nineteen-year-old worker in a chicken processing plant. Their romance faces the opposition of the girl's conservative parents. Franz is sentenced to nine months in prison for having sex with a minor. When he is released on probation, they continue their relationship and Hanni becomes pregnant. Afraid of her father's anger, she persuades Franz to kill him. Back in prison, Franz is told by Hanni that their child died at birth and that their love was "only physical".<ref>{{harv|Thomsen|2004|p=120}}</ref>

Originally made for German television, ''Jailbait'' was based on a play by [[Franz Xaver Kroetz]], who violently disagreed with Fassbinder's adaptation, calling it pornographic.<ref>{{harv|Watson|1996|p=119}}</ref> The luridness of its theme furthered the controversy.

====''World on a Wire'' (1973)====
His only [[science fiction film]], ''[[World on a Wire]]'' (''Welt am Draht'', 1973), was a departure for Fassbinder. An adaptation of the pulp sci-fi novel ''[[Simulacron-3]]'' by [[Daniel F. Galouye]], it was made as a two-part, 205 minute production for television using [[16mm film]] stock during a hiatus from the lengthy production of ''Effi Briest'' and in the same year as ''Martha'' and ''Ali: Fear Eats the Soul''.

A story of realities within realities, ''World on a Wire'' follows a researcher, working at the institute of cybernetics and future science, who begins to investigate the mysterious death of his mentor. He falls deep into the cover up behind a computer capable of creating an artificial world with units living as human beings unaware that their world is just a computer projection. Made in contemporary Paris, the film was stylistically inspired by [[Jean-Luc Godard]]'s ''[[Alphaville (film)|Alphaville]]'' (1965) and in its theme of artificial humans wanting to reach real life anticipated [[Ridley Scott]]'s ''[[Blade Runner]]'' (1982).<ref name="Thomsen 136">{{harv|Thomsen|2004|p=136}}</ref>

====''Ali: Fear Eats the Soul'' (1974)====
Fassbinder first gained international success with ''[[Ali: Fear Eats the Soul|Fear Eats the Soul]]'' (''Angst essen Seele auf'', 1974). This film was shot in fifteen days in September 1973 with a very low budget, ranking among Fassbinder's quickest and cheapest. Nevertheless, the impact on Fassbinder's career and in overseas release remains cemented as a great and influential work. It won the International Critics Prize at [[Cannes Film Festival|Cannes]] and was acclaimed by critics everywhere as one of 1974's best films.

''Fear Eats the Soul'' was loosely inspired by Sirk's ''All That Heaven Allows'' (1955). It details the vicious response of family and community to a lonely aging white cleaning lady who marries a muscular, much younger black Moroccan immigrant worker. The two are drawn to each other out of mutual loneliness. When their relationship becomes known, they experience various forms of hostility and public rejection. Gradually, their relationship is tolerated, not out of real acceptance, but because those around the good-hearted old lady realize their ability to exploit her is threatened. As the external pressures over the couple begin to subside, internal conflicts surface.

====''Martha'' (1974)====
Fassbinder's main characters tend to be naifs, either men or women, who are rudely, sometimes murderously, disabused of their romantic illusions. Shot on 16mm film and made for television, ''[[Martha (1974 film)|Martha]]'' (1974) is a melodrama about cruelty in a traditional marriage.

The plot focuses on the title character, a spinster librarian. Soon after the death of her father while on vacation in [[Rome]], Martha meets a wealthy civil engineer, who sweeps her off her feet. They encounter each other again at a wedding in her hometown of [[Konstanz (district)|Constance]] and soon marry. However, their married life becomes an exercise for her husband to express his sadism and for Martha to endure her masochism. Her husband shows his desire for her violently, leaving marks on her body. He obsessively controls her life, her diet, her taste in music and her interests, until she is confined to their house. Martha's initially positive wish to be liked by her oppressive and abusive husband pushes her to such an extreme that she becomes deranged, leading to her own permanent physical paralysis.

====''Effi Briest'' (1974)====
''[[Effi Briest (1974 film)|Effi Briest]]'' was Fassbinder's dream film and the one in which he invested the most work. While he normally took between nine and 20 days to make a film, this time it required 58 shooting days, dragged out over two years.<ref name="Thomsen 145">{{harv|Thomsen|2004|p=145}}</ref> The film is a period piece adapted from [[Theodor Fontane]]'s classic [[Effi Briest|novel]] of 1894, concerning the consequences of betrayed love. Set in the closed, repressive Prussian society of the [[Otto von Bismarck|Bismarck]] era, the film paints a portrait of a woman's fate completely linked to an unbending and utterly unforgiving code of social behavior. The plot follows the story of Effi Briest, a young woman who seeks to escape her stifling marriage to a much older man by entering into a brief affair with a charming soldier. Six years later, Effi's husband discovers her affair with tragic consequences.

The film served as a showpiece for Fassbinder's muse and favorite actress [[Hanna Schygulla]], whose detached acting style fitted the roles the director created for her. Fassbinder made her a star, but artistic differences while making ''Effi Briest'' created a split that lasted for some years, until Fassbinder called her back to take the role of Maria Braun.

====''Like a Bird on a Wire'' (1975)====
''Like a Bird on a Wire'' (''Wie ein Vogel auf dem Draht'') is a forty-minute television production featuring [[Brigitte Mira]], the main actress in ''Fear eats the Soul'', singing cabaret songs and love ballads from the 1940s and 1950s. Between songs, she drinks and talks about her husbands. The title is borrowed from [[Leonard Cohen]]'s song "[[Bird on the Wire]]", with which the program ends.

Fassbinder considered this project "an attempt to do a show about the [[Konrad Adenauer|Adenauer era]]. For us it certainly wasn't entirely successful. But the film does reveal the utter repulsiveness and sentimentality of the time" he explained.<ref>{{harv|Kardish|Lorenz|1997|p=57}}</ref>

====''Fox and His Friends'' (1975)====
Many of Fassbinder's films deal with homosexuality, in keeping with his interest in characters who are social outsiders, but he drew away from most representations of homosexuals in films. In an interview at the 1975 [[Cannes Film Festival]], Fassbinder said about ''[[Fox and His Friends]]'': "It is certainly the first film in which the characters are homosexuals, without homosexuality being made into a problem. In films, plays or novels, if homosexuals appear, the homosexuality was the problem, or it was a comic turn. But here homosexuality is shown as completely normal, and the problem is something quite different, it's a love story, where one person exploits the love of the other person, and that's the story I always tell".<ref name="Thomsen
181">{{harv|Thomsen|2004|p=181}}</ref>

In ''Fox and His Friends'' (''Faustrecht der Freiheit'', 1974) a sweet but unsophisticated working-class homosexual wins the lottery and falls in love with the elegant son of an industrialist. His lover tries to mold him into a gilt-edged mirror of upper-class values, all the while appropriating Fox's lottery winnings for his own ends. He ultimately destroys Fox's illusions, leaving him heartbroken and destitute.

Fassbinder worked within the limits of Hollywood melodrama, though the film is partially based on the plight of his then lover Armin Meier (to whom the film is dedicated). The film is notable for Fassbinder's performance as the unlucky Fox, in a self-directed starring role.

''Fox and His Friends'' has been deemed homophobic by some and overly pessimistic by others.<ref name="Thomsen 182">{{harv|Thomsen|2004|p=182}}</ref> The film's homosexuals are not, surprisingly, any different from the film's equally lecherous heterosexuals. The film's pessimism is far outweighed by Fassbinder's indictment of Fox as an active participant in his own victimization, a familiar critique found in many of the director's films.

====''Mother Küsters Goes to Heaven'' (1975)====
In ''[[Mother Küsters Goes to Heaven]]'' (''Mutter Küsters Fahrt zum Himmel''), a [[melodrama]], Emma Küsters becomes the center of media and political attention after her husband, a factory worker, killed his supervisor or his supervisor's son and then himself when lay offs were announced. The film drew on both Sirk's melodramas and Weimar-era workers' films, connecting the genres to tell a political coming-of-age story about Mother Küsters, who seeks to understand what led to her husband's actions and how to respond.<ref>{{cite journal |last=Gerhardt |first=Christina |title=Fassbinder's Mothers Küsters Goes to Heaven in a Genealogy of the Arbeiterfilme |journal=[[Film Criticism]] |url=http://quod.lib.umich.edu/f/fc/13761232.0041.109?view=text;rgn=main |date=28 June 2017 |volume=41 |issue=1 |doi=10.3998/fc.13761232.0041.109 |access-date=28 June 2017|doi-access=free }}</ref> The film is very critical of the era's politics and media, as the people to whom Emma Küsters turns all exploit her and her experience. The media, communists, anarchists and even her own family members all take advantage of Mother Küsters's tragedy to advance their own agendas.

===='' Fear of Fear'' (1975)====
Made for German television, ''{{Interlanguage link multi|Angst vor der Angst|de|3=Angst vor der Angst|lt=Fear of Fear}}'' (''Angst vor der Angst'') is a physiological drama about a middle-class housewife, locked into a dull life with a distracted husband, two small children, and openly hostile in-laws. She becomes addicted to [[valium]] and alcohol overwhelmed by an irrational anxiety and fear of her inexorable descent into madness.

''Fear of Fear'' is similar in theme to ''Martha'', which also portrays the effect of a dysfunctional marriage in an oppressed housewife, the central role was again played by [[Margit Carstensen]].

====''I Only Want You to Love Me'' (1976)====
''[[I Only Want You To Love Me]]'' (''Ich will doch nur, daß ihr mich liebt'', 1976) tells the story of Peter, a construction worker in jail for manslaughter. His life is recounted in a series of flashbacks. A hard working man, Peter spends his spare time building a house for his cold unloving parents. He marries and finds a job in another city, but in his desperate yearning for affection he tries to buy the love of those around him with expensive gifts which soon makes him fall into a spiral of debt. When he sees his own unrequited love for his parents reflected during an argument in a bar, he kills a man who serves as a proxy for his father.

The film was made for television and shot during a pause while making ''Satan's Brew''. Based on a true account taken from ''For Life'', a book of interviews edited by Klaus Antes and Christiane Erhardt, it was Fassbinder's personal reflections on childhood and adolescence.{{citation needed|date=June 2015}}

====''Satan's Brew'' (1976)====
In a time of professional crisis, Fassbinder made ''[[Satan's Brew]]'' (''Satansbraten'', 1976) a bleak amoral comedy that pays homage to [[Antonin Artaud]]'s [[theatre of cruelty]]. Stylistically far from the melodramas that made him known internationally, ''Satan's Brew'' gave way to a new phase in his career. In ''Satan's Brew'', a neurotic poet suffering from writer's block struggles to make ends meet while dealing with a frustrated long suffering wife, a half witted brother and various prostitutes and masochist women who drift in and out of his life. He convinces himself to be the reincarnation of the gay romantic poet [[Stefan George]] (1868–1933) after he plagiarizes his poem ''The Albatros''.<ref>{{Cite web|url=https://brightlightsfilm.com/a-german-tragedy-turned-absurd-fassbinders-satans-brew/|title=A German Tragedy, Turned Absurd: Fassbinder's Satan's Brew|date=2010-02-01|website=Bright Lights Film Journal|language=en-US|access-date=2019-04-10}}</ref>

===International films (1976–1982)===
Enthusiasm for Fassbinder's films grew quickly after ''Fear Eats the Soul''. [[Vincent Canby]] paid tribute to Fassbinder as "the most original talent since Godard". In 1977, the New Yorker Theater in Manhattan held a Fassbinder Festival.

However, as enthusiasm for Fassbinder grew outside of Germany, his films still failed to impress the native audience. At home, he was better known for his television work and for his open homosexuality. Coupled with the controversial issues of his films — terrorism, [[state violence]], [[racism]], sexual politics — it seemed that everything Fassbinder did provoked or offended someone.

After completing in 1978 his last low-budget and very personal ventures (''[[In a Year of 13 Moons]]'' and ''[[The Third Generation (1979 film)|The Third Generation]]'') he would concentrate on making films that were becoming increasingly garish and stylized. However, his TV series ''Berlin Alexanderplatz'' was a naturalistic adaptation of the two-volume novel by [[Alfred Döblin]], which Fassbinder had read many times.

====''Chinese Roulette '' (1976)====
''[[Chinese Roulette]]'' (''Chinesisches Roulette'') is a gothic thriller with an ensemble cast. The film follows a twelve-year-old crippled girl, Angela, who, due to her parents' lack of affection, arranges an encounter between them with their respective lovers at the family country estate. The film climaxes with a truth-guessing game. The players divide into two teams, which take it in turn to pick out one member of the other side and ask them question about people and objects. The game is played at the suggestion of Angela, who plays against her mother. When the mother asks: "In the [[Third Reich]], what would that person have been?", Angela's answer is "Commandant of the [[concentration camp]] at [[Bergen Belsen]]"; it is her mother she is describing.<ref name="Hayman, 142">{{harv|Hayman|1984|p=142}}</ref>

====''The Stationmaster's Wife'' (1977)====
There are no happy endings in Fassbinder's films. His protagonists, usually weak men or women with masochistic tendencies, pay a heavy price for their victimization. ''{{Interlanguage link multi|Bolwieser|de|3=Bolwieser|lt=The Stationmaster's Wife}}'' (''Bolwieser'') is based on a 1931 novel, ''Bolwieser: The Novel Of a Husband'' by the Bavarian writer [[Oskar Maria Graf]]. The plot follows the downfall of Xaver Bolwieser, a railway stationmaster submitted to the will of his domineering and unfaithful wife, whose repeated infidelities completely ruin Bolwieser's life. Broadcast initially as a two-part television series, ''The Stationmaster's Wife'' was shortened to a 112-minute feature film and released in the first anniversary of Fassbinder's death. The film stars [[Kurt Raab]], Fassbinder's close friend whom the director usually cast as a pathetic man. Raab was also set designer of Fassbinder's films until their friendship and professional relationship broke up after making this film.<ref>{{harv|Watson|1996|pp=206–207}}</ref>

====''Germany in Autumn'' (1978)====
''[[Germany in Autumn]]'' ''(Deutschland im Herbst)'' is an [[omnibus film]], a collective work of eight German filmmakers including Fassbinder, [[Alf Brustellin]], [[Volker Schlöndorff]], [[Bernhard Sinkel]] and [[Alexander Kluge]], the main organizer behind the project. They took a look at the wave of guilt and paranoia that afflicted [[West Germany]]'s society and its authorities in the months between the kidnapping and murder of industrialist [[Hanns Martin Schleyer]] by [[Red Army Faction]] members and the deaths of [[Andreas Baader]], [[Gudrun Ensslin]] and [[Jan-Carl Raspe]] in [[Stammheim Prison]]. The film is a document about terrorism and its sociopolitical aftermath. It begins with Schleyer's wake, a segment filmed by Alexander Kluge and Volker Schlöndorff, and it ends with the tumultuous joint funeral of Baader, Ensslin, and Raspe in Stuttgart.

====''Despair'' (1978)====
Fassbinder made three films in [[English language|English]], a language in which he was not proficient: ''[[Despair (film)|Despair]]'' (1978), ''Lili Marleen'' (1980) and ''Querelle'' (1982). All three films have international actors and are very ambitious, yet each faced artistic and commercial problems.<ref>{{harv|Thomsen|2004|p=34}}</ref>
''Despair'' is based upon the 1936 [[Despair (novel)|novel of the same name]] by [[Vladimir Nabokov]], adapted by [[Tom Stoppard]] and featuring [[Dirk Bogarde]]. It was made on a budget of 6,000,000 [[Deutsche Mark|DEM]], exceeding the total cost of Fassbinder's first fifteen films.

''[[Despair (film)|Despair – A journey into the Light]]'' (''Despair – Eine Reise ins Licht'') tells the story of Hermann Hermann, an unbalanced Russian émigré and chocolate magnate, whose business and marriage have both grown bitter. The factory is close to bankruptcy, and his vulgar wife is chronically unfaithful. He hatches an elaborate plot to take a new identity in the belief it will free him of all his worries. The story of Hermann's descent into madness is juxtaposed against the rise of [[National Socialism]] in the Germany of the 1930s.

====''In a Year of Thirteen Moons'' (1978)====

''[[In a Year of Thirteen Moons]]'' (''In einem Jahr mit 13 Monden'', 1978) is Fassbinder most personal and bleakest work. The film follows the tragic life of Elvira, a [[transsexual]] formerly known as Erwin. In the last few days before her suicide, she decides to visit some of the important people and places in her life. In one sequence, Elvira wanders through the slaughterhouse where she worked as Erwin, recounting her history amid the meat-hooked corpses of cattle whose slit throats rain blood onto the floor.<ref>{{harv|Thomsen|2004|p=257}}</ref> In another scene, Elvira returns to the orphanage where she was raised by [[nun]]s and hears the brutal story of her childhood. Fassbinder's camera tracks the nun (played by his mother) telling Elvira's story; she moves with a kind of military precision through the grounds, recounting the story in blazing detail, unaware that Elvira had collapsed and can no longer hear it.

''In a Year of Thirteen Moons'' was explicitly personal, a reaction to his former lover Armin Meier's suicide.<ref>{{harv|Thomsen|2004|p=255}}</ref> In addition to writing, directing, and editing, Fassbinder also designed the production and worked as the cameraman. When the film played in the New York Film Festival in October 1979, critic [[Vincent Canby]] (who championed Fassbinder's work in the United States) wrote, "Its only redeeming feature is genius."<ref>{{cite news|url=https://www.nytimes.com/movie/review?res=9C02E6D71438E432A2575BC0A9669D946890D6CF|title=In a Year of 13 Moons (1978) Film: Fassbinder's 'Year of 13 Moons': Unalterable Condition|last=Canby|first=Vincent|date=18 October 1979|newspaper=nytimes.com}}</ref>

====''The Marriage of Maria Braun'' (1979)====

With ''[[The Marriage of Maria Braun]]'' (''Die Ehe der Maria Braun''), his greatest success, Fassbinder finally attained the popular acceptance he sought with German audiences. The title character is an ambitious and strong willed woman separated from her husband towards the end of World War II. The plot follows Maria Braun's steady rise as a successful business woman during the [[Konrad Adenauer|Adenauer]] era. Maria's dream of a happy life with her husband remains unfulfilled. Her professional achievements are not accompanied by personal happiness.<ref>{{harv|Watson|1996|p=209}}</ref> The film, constructed in the Hollywood tradition of "women's pictures" presenting a woman overcoming hardships, serves also as a parable of the West Germany economic miracle embodied in the character of Maria Braun. Her story of manipulation and betrayal parallels Germany's spectacular postwar economic recovery in terms of its cost in human values.<ref>{{harv|Watson|1996|p=243}}</ref>

The film was the first part of a trilogy centered on women during the post-war "[[Wirtschaftswunder|economic miracle]]" which was completed with ''[[Lola (1981 film)|Lola]]'' (1981) and ''[[Veronika Voss]]'' (1982).

====''The Third Generation'' (1979)====
The economic success of ''The Marriage of Maria Braun'' allowed Fassbinder to pay his debts and to embark on a personal project, ''[[The Third Generation (1979 film)|The Third Generation]]'' (''Die Dritte Generation'', 1979), a black comedy about terrorism. Fassbinder found financial backing for this film difficult to acquire and it was ultimately made on a small budget and borrowed money.<ref>{{harv|Watson|1996|p=164}}</ref> As he did with ''In a Year of Thirteen Moons'', Fassbinder worked again as the film's cameraman.<ref>{{harv|Thomsen|2004|p=263}}</ref>

The film concerns a group of aspiring terrorists from leftist bourgeois backgrounds who kidnap an industrialist during carnival season unaware that they have been manipulated by the capitalist and the authorities whose hidden agenda is for terrorism to create a demand for security hardware and to gain support for harsher security measures. The actions of the ineffectual cell of underground terrorists are overlaid with a soundtrack filled with newscast, voiceovers, music and gibberish. The political theme of the film aroused controversy.{{citation needed|date=June 2015}}

====''Berlin Alexanderplatz'' (1980)====
Returning to his explorations of German history, Fassbinder finally realized his dream of adapting [[Alfred Döblin]]'s 1929 novel ''[[Berlin Alexanderplatz]]''. A [[Berlin Alexanderplatz (television)|television series]] running more than 13 hours, with a two-hour coda (released in the U.S. as a 15-hour feature), it was the culmination of the director's inter-related themes of love, life, and power.<ref>{{Cite journal|url=http://www.nybooks.com/articles/2008/01/17/the-genius-of-berlin/|title=The Genius of Berlin|last=Buruma|first=Ian|journal=The New York Review of Books|date=January 17, 2008|access-date=February 16, 2017}}</ref>

''Berlin Alexanderplatz'' centers on Franz Biberkopf, a former convict and minor pimp, who tries to stay out of trouble but is dragged down by crime, poverty and the duplicity of those around him. His best friend, Reinhold, makes him lose an arm and murders Franz' prostitute girlfriend, Mieze. The love triangle of Franz, Reinhold and Mieze is staged against the rising tide of Nazism in Germany. The film emphasized the sadomasochist relationship between Biberkopf and Reinhold stressing its homoerotic nature. Fassbinder had read the book at age fourteen; later claiming that it helped him survive a "murderous puberty". The influence of Döblin's novel can be seen in many of Fassbinder's films most of whose protagonists are named Franz, some with the surname Biberkopf like the naïve working class lottery winner in ''Fox and His Friends'', who is played by Fassbinder. He also took the pseudonym of Franz Walsch for his work as editor on his own films: Walsch was an oblique homage to director [[Raoul Walsh]].{{citation needed|date=June 2015}}

====''Lili Marleen'' (1981)====
Fassbinder took on the [[Nazi]] period with ''[[Lili Marleen (film)|Lili Marleen]]'', an international co production, shot in English and with a large budget. The script was vaguely based on the autobiography of [[World War II]] singer [[Lale Andersen]], ''The Sky Has Many Colors''.<ref>{{harv|Watson|1996|p=215}}</ref> The film is constructed as a big, tear-jerking [[Hollywood]] [[melodrama]] in its depiction of the unfulfilled love story between a German variety singer separated by the war from a Swiss Jewish composer. Central to the story is the [[Lili Marleen|song]] that gives the film its title.{{citation needed|date=June 2015}}

Fassbinder presents the period of the [[Third Reich]] as a predictable development of German history that was staged as spectacle supported by hate. Filmed with a morbid nostalgia for [[swastika]]s, showbiz glitz and as a cloak-and-dagger romance, the main theme of ''Lili Marleen'' is the question: is it morally justifiable to survive under National Socialism, as the naïve singer does by having a successful career?<ref>{{harv|Thomsen|2004|p=295}}</ref>

====''Theater In Trance'' (1981)====

''Theater In Trance'' is a documentary which Fassbinder shot in Cologne in June 1981 at the "Theaters of the World" Festival. Over scenes from groups such as the [[Squat Theatre]] and the [[Pina Bausch|Tanztheater Wuppertal Pina Bausch]] Fassbinder spoke passages from [[Antonin Artaud]] as well as his own commentary.<ref>{{cite web|url=http://www.kinowelt-international.de/detail_v3.php?lang=en&kid=009561_1_1&CID=b3e62c9a68f6952c56ed2b6eba5224cc|title=Theatre In Trance|publisher=kinowelt-international.de}}</ref>

====''Lola'' (1981)====
''[[Lola (1981 film)|Lola]]'' tells the story of an upright, new building commissioner who arrives in a small town. He falls in love with Lola, innocently unaware of the fact that she is a famed prostitute and the mistress of an unscrupulous developer. Unable to reconcile his idealistic image of Lola with reality, the commissioner spirals into the very corruption he had sought to fight out.

====''Veronika Voss'' (1982)====
Fassbinder won the [[Golden Bear]] at the [[32nd Berlin International Film Festival]] for ''[[Veronika Voss]]''.<ref>{{cite web|url=http://www.berlinale.de/en/archiv/jahresarchive/1982/03_preistr_ger_1982/03_Preistraeger_1982.html|title=Prizes & Honours 1982|publisher=berlinale.de|language=de|access-date=14 November 2010}}</ref> The original German title, ''Die Sehnsucht der Veronika Voss'', translates as "The longing of Veronika Voss". Set in the 1950s, the film depicts the twilight years of the title character, a faded Nazi starlet. A sports reporter becomes enthralled by the unbalanced actress and discovers that she is under the power of a villainous doctor who supplies her with the drugs she craves so long as she can pay the exorbitant fee. Despite the reporter's best attempts, he is unable to save her from a terrible end.<ref>{{harv|Watson|1996|p=221}}</ref>

====''Querelle'' (1982)====
Fassbinder did not live to see the premiere of his last film, ''[[Querelle]]'', based on [[Jean Genet]]'s novel ''[[Querelle of Brest|Querelle de Brest]]''.<ref>{{harv|Watson|1996|p=256}}</ref> The plot follows the title character, a handsome sailor who is a thief and hustler. Frustrated in a homoerotic relationship with his own brother, Querelle betrays those who love him and pays them even with murder.

==Personal life==
[[File:Ritrat ad Rainer Werner Fassbinder SW.svg|thumb|upright|[[Digital art]] depicting Rainer Werner Fassbinder]]
Fassbinder had [[Bisexuality|sexual relationships with both men and women]]. He rarely kept his professional and personal life separate, and was known to cast family, friends and lovers in his films. Early in his career he had a lasting but fractured relationship with [[Irm Hermann]], a former secretary whom he forced to become an actress.<ref>{{harv|Lorenz|Schmid|Gehr|1997|p=20}}</ref> Fassbinder usually cast her in unglamorous roles, most notably as the unfaithful wife in ''[[The Merchant of Four Seasons]]'' and the silent abused assistant in ''[[The Bitter Tears of Petra von Kant]]''.

[[Irm Hermann]] idolized him, but Fassbinder tormented and tortured her for over a decade.<ref name="Hayman 22">{{harv|Hayman|1984|p=22}}</ref> This included [[domestic violence]]: "He couldn't conceive of my refusing him, and he tried everything. He almost beat me to death on the streets of [[Bochum]] ..."<ref>{{harv|Baer|1986|p=65}}</ref> In 1977, Hermann became romantically involved with another man and became pregnant by him. Fassbinder proposed to her and offered to adopt the child; she turned him down.<ref>{{harv|Hayman|1984|p=24}}</ref>

In 1969, while portraying the lead role in the TV film ''[[Baal (film)|Baal]]'' under the direction of [[Volker Schlöndorff]], Fassbinder met [[Günther Kaufmann]], a black Bavarian actor who had a minor role in the film. Despite the fact that Kaufmann was married and had two children, Fassbinder fell madly in love with him. The two began a turbulent affair which ultimately affected the production of ''Baal''. Fassbinder tried to buy Kaufmann's love by casting him in major roles in his films and buying him expensive gifts.<ref>{{harv|Hayman|1984|p=62}}</ref>

Kaufmann relished the attention and became more demanding. Fassbinder bought him four [[Lamborghini]]s over the period of a year; Kauffmann wrecked one and sold the others if they failed to meet his expectations.<ref>{{harv|Katz|1987|p=46}}</ref> The relationship came to an end when Kaufmann became romantically involved with composer [[Peer Raben]]. After the end of their relationship, Fassbinder continued to cast Kaufmann in his films, albeit in minor roles.<ref name="Watson 94">{{harv|Watson|1996|p=94}}</ref> Kaufmann appeared in fourteen of Fassbinder's films, with the lead role in ''[[Whity (film)|Whity]]'' (1971).

Although he claimed to be opposed to matrimony as an institution, in 1970 Fassbinder married [[Ingrid Caven]], an actress who regularly appeared in his films. Their wedding reception was recycled in the film he was making at that time, ''The American Soldier''.<ref>{{harv|Lorenz|Schmid|Gehr|1997|pp=243–244}}</ref> Their relationship of mutual admiration survived the complete failure of their two-year marriage. "Ours was a love story in spite of the marriage", Caven explained in an interview, adding about her former husband's [[sexual orientation|sexuality]]: "Rainer was a homosexual who also needed a woman. It's that simple and that complex."<ref>{{harv|Lorenz|Schmid|Gehr|1997|p=45}}</ref> The three most important women of Fassbinder's life, [[Irm Hermann]], [[Ingrid Caven]] and [[Juliane Lorenz]], his last partner, were not disturbed by his homosexuality.<ref>{{harv|Lorenz|Schmid|Gehr|1997|pp=245–246}}</ref>

In 1971, Fassbinder began a relationship with [[El Hedi ben Salem]], a [[Morocco|Moroccan]] [[Berber people|Berber]] who had left his wife and five children the previous year, after meeting him at a [[gay bathhouse]] in Paris.<ref name="Watson 94"/><ref>{{cite web|url=https://variety.com/2012/film/reviews/my-name-is-not-ali-1117948182/|title=My Name Is Not Ali|last=Harvey|first=Dennis|date=3 September 2012|publisher=variety.com|access-date=13 January 2015}}</ref> Over the next three years, Salem appeared in several Fassbinder productions. His best-known role was as Ali in ''[[Ali: Fear Eats the Soul]]'' (1974). Their three-year relationship was punctuated with jealousy, violence and heavy drug and alcohol use. Fassbinder finally ended the relationship in 1974, due to Salem's chronic alcoholism and tendency to become violent when he drank. Shortly after the breakup, Salem stabbed three people (none fatally) in Berlin and had to be smuggled out of Berlin.<ref>{{harv|Thomsen|2004|p=19}}</ref> Salem eventually made his way to France where he was arrested and imprisoned. He hanged himself while in custody in 1977.<ref name=watson107>{{harv|Watson|1996|p=107}}</ref> News of Salem's suicide was kept from Fassbinder for years.<ref>{{harv|Cappello|2007|p=102}}</ref> He eventually found out about his former lover's death shortly before his own death in 1982 and dedicated his last film, ''[[Querelle]]'', to Salem.<ref name=watson107/>

Fassbinder's next lover was [[Armin Meier (actor)|Armin Meier]]. Meier was a near-illiterate former butcher who had spent his early years in an orphanage.<ref>{{harv|Hayman|1984|p=682}}</ref> He also appeared in several Fassbinder films in this period. A glimpse into their troubled relationship can be seen in Fassbinder's episode for ''Germany in Autumn'' (1978).<ref>{{harv|Thomsen|2004|p=20}}</ref> Fassbinder ended the relationship in April 1978. During the week of Fassbinder's birthday (31 May), Meier deliberately consumed four bottles of sleeping pills and alcohol in the kitchen of the apartment he and Fassbinder had previously shared. His body was found a week later.<ref>{{harv|Silverman|1992|p=214}}</ref>

In the last four years of Fassbinder's life, his companion was Juliane Lorenz (born 1957), the editor of his films during the last years of his life. She can be seen in a small role as the film producer's secretary in ''[[Veronika Voss]]''.<ref>{{harv|Watson|1996|p=222}}</ref> According to Lorenz, they considered getting married but never did so.<ref name="nicodemus"/><ref>{{harv|Lorenz|Schmid|Gehr|1997|p=244}}</ref> Although they were reported as drifting apart in his last year,<ref>{{harv|Thomsen|2004|p=41}}</ref> an accusation Lorenz has denied,<ref>{{cite news |url=https://www.theguardian.com/film/1999/jan/08/features3 |title=The bitter tears of Fassbinder's women |last=Hodgkiss |first=Rosalind |date=8 January 1999|work=theguardian.com}}</ref> they were still living together at the time of his death.<ref name="maslin">{{cite news|url=https://www.nytimes.com/1982/06/11/movies/rainer-werner-fassbinder-36-film-maker-dead.html|title=Rainer Werner Fassbinder, 36, Filmmaker, Dead |last=Maslin |first=Janet |date=11 June 1982 |newspaper=nytimes.com |access-date=13 January 2015}}</ref>

==Controversy==
Media scandals and controversies ensured that in Germany itself Fassbinder was permanently in the news, making calculatedly provocative remarks in interviews. His work often received mixed reviews from the national critics, many of whom only began to take him seriously after the foreign press had hailed him as a major director.<ref>{{harv|Vincendeau|1995|p=138}}</ref>{{incomplete short citation|date=April 2020}}

There were frequent exposés of his lifestyle in the press, and attacks on all sides from the groups his films offended.<ref name="Watson 25">{{harv|Watson|1992|p=25}}</ref> His television series ''[[Eight Hours Don't Make a Day]]'' was cut from eight to five episodes after pressure from conservatives.<ref name="Watson 25"/> The playwright [[Franz Xaver Kroetz]] sued over Fassbinder's adaptation of his play ''Jail Bait'', alleging that it was [[obscenity|obscene]].<ref>{{harv|Watson|1996|pp=17, 119, 130}}</ref> [[Lesbian]]s and [[feminist]]s accused Fassbinder of [[misogyny]] (in presenting women as complicit in their own oppression) in his 'Women's Pictures'.<ref name="Watson 25"/><ref>{{harv|Thomsen|2004|p=155}}</ref> ''The Bitter Tears of Petra von Kant'' has been cited by some feminist and gay critics as both [[homophobia|homophobic]] and [[sexism|sexist]].<ref name="Watson 25"/>

Gay critics also complained of misrepresentation in ''Fox and His Friends''.<ref name="Watson 25"/> Conservatives attacked him for his association with the [[Far left|radical left]]. [[Marxism|Marxists]] said he had sold out his political principles in his depictions of left-intellectual manipulations in ''[[Mother Küsters' Trip to Heaven]]'' and of a late-blooming [[terrorism|terrorist]] in ''The Third Generation''. ''Berlin Alexanderplatz'' was moved to a late night television slot amid widespread complaints that it was unsuitable for children.<ref name="Watson 25"/> The most heated criticism came for his play ''Trash, the City, and Death'', whose scheduled performance at the Theater am Turm in Frankfurt was cancelled early in 1975 amid charges of [[anti-semitism]]. In the turmoil, Fassbinder resigned from his directorship of that prestigious theater complex, complaining that the play had been misinterpreted. The play is about an unscrupulous and very greedy [[Jewish]] businessman in Frankfurt who ruthlessly uses German guilt over [[the Holocaust]] to make himself rich. Though published at the time, and quickly withdrawn, the play was not performed until five years after Fassbinder's death by Thieves Theatre in 1987 at [[ABC No Rio]].<ref>{{cite web |url=http://www.spiegel.de/spiegel/print/d-13521502.html |title=Der reiche Jude in Manhattan |first=Rainer |last=Weber |date=6 April 1987 |volume=15 |via=Spiegel Online}}</ref><ref name="Watson 25"/>

==Death==
By the time he made his last film, ''[[Querelle]]'' (1982), Fassbinder was using drugs and alcohol as a way to cope with his unrelenting schedule.{{citation needed|date=January 2019}} On the night of 9–10 June 1982, [[Wolf Gremm]], director of the film ''[[Kamikaze 1989]]'' (1982), which starred Fassbinder, was staying in his apartment.<ref name="Hayman 135">{{harv|Hayman|1984|p=135}}</ref> Early that evening, Fassbinder retired to his bedroom. He was working on notes for a future film, ''Rosa L'', based on the life of Polish-German revolutionary socialist [[Rosa Luxemburg]]. Fassbinder was watching television while reading when, shortly after 1 a.m., he received a phone call from his friend and assistant Harry Baer.<ref name="Watson 1">{{harv|Watson|1996|p=1}}</ref> At 3:30 a.m, when Juliane Lorenz arrived home, she heard the noise of the television in Fassbinder's room, but she could not hear him snoring. Though not allowed to enter the room uninvited, she went in, and discovered his lifeless body with a cigarette still between his lips.<ref name="Hayman 135"/> A thin ribbon of blood trickled from one nostril.<ref>{{harv|Thomsen|2004|p=43}}</ref>

Fassbinder died from an overdose of [[cocaine]]<ref>{{cite web |url=http://articles.latimes.com/2012/may/30/entertainment/la-et-fassbinder-20120530 |title=An L.A. love letter to Rainer Werner Fassbinder |last=King |first=Susan |date=30 May 2012 |work=latimes.com |access-date=13 January 2015}}</ref> and [[barbiturate]]s.<ref>{{cite web |url=http://www.spiegel.de/spiegel/print/d-14344354.html|title=O du verhaßt-geliebtes Gift|date=21 June 1982 |publisher=spiegel.de |language=de}}</ref> The notes for ''Rosa L'' were found next to his body.<ref name="Watson 1"/> His remains were interred at Bogenhausener Friedhof in Munich.

==Filmography==
All titles written and directed by Rainer Werner Fassbinder unless stated otherwise. According to Hanna Schygulla, Fassbinder had no part in the making of ''Why Does Herr R. Run Amok?''; it was realized from his idea by Michael Fengler, his assistant.<ref>{{cite journal|last=Sontag|first=Susan|author-link=Susan Sontag|date=25 February 2003|title=The Imperfect Storm|journal=[[The Village Voice]]|url=http://www.villagevoice.com/2003-02-25/film/the-imperfect-storm/|access-date=4 June 2009}}</ref>

{| class="wikitable sortable"
|-
! Year
! English title
! Original title
! Role
! class="unsortable" | Notes
|-
| 1965
| ''This Night''
| ''This Night''
|
| Short [[Lost film|Lost]]
|-
| 1966
| ''The City Tramp''
| ''Der Stadtstreicher''
| Mann auf toiletten
| Short, Uncredited
|-
| 1967
| ''The Little Chaos''
| ''Das kleine Chaos''
| Franz
| Short
|-
| 1968
| ''With Oak Leaves and Fig Leaf''
| ''Mit Eichenlaub und Feigenblatt''
| Festnehmender Soldat
|
|-
| 1969
| ''[[Love Is Colder Than Death (film)|Love Is Colder Than Death]]''
| ''Liebe ist kälter als der Tod''
| Franz Walsch
| Uncredited
|-
| 1969
| ''[[Katzelmacher]]''
| ''Katzelmacher''
| Jorgos
| Based on Fassbinder's play English title: ''Cock Artist'', Uncredited
|-
| 1970
| ''[[Gods of the Plague]]''
| ''Götter der Pest''
| Pornokunde
| Uncredited
|-
| 1970
| ''{{Interlanguage link multi|The Coffee Shop (film)|fr|3=Le Café|lt=The Coffee Shop}}''
| ''Das Kaffeehaus''
|
| Video recording for German TV Based on ''La bottega del caffè'' (1750), by [[Carlo Goldoni]]
|-
| 1970
| ''[[Why Does Herr R. Run Amok?]]''
| ''Warum läuft Herr R. Amok?''
|
| Co-directed and written (improvisation instructions) with [[Michael Fengler]]
|-
| 1970
| ''[[The American Soldier]]''
| ''Der amerikanische Soldat''
| Franz Walsch
| Uncredited
|-
| 1970
| ''{{Interlanguage link multi|Niklashauser Fart|de|3=Niklashauser Fart|lt=The Niklashausen Journey}}''
| ''Die Niklashauser Fahrt''
| Black Monk
| TV movie, Uncredited Co-directed with Michael Fengler
|-
| 1971
| ''[[Rio das Mortes (film)|Rio das Mortes]]''
| ''Rio das Mortes''
| Hannas Tanzpartner
| TV movie, Uncredited
|-
| 1971
| ''[[Mathias Kneissl (film)|Mathias Kneissl]]''
| ''Mathias Kneissl''
| Flecklbauer
|
|-
| 1971
| ''[[Whity (film)|Whity]]''
| ''Whity''
| Saloon guest
| Uncredited
|-
| 1971
| ''[[Beware of a Holy Whore]]''
| ''Warnung vor einer heiligen Nutte''
| Sascha, Herstellungsleiter
|
|-
| 1971
| ''{{Interlanguage link multi|Pioneers in Ingolstadt (1971 film)|de|3=Pioniere in Ingolstadt (Film)|lt=Pioneers in Ingolstadt}}''
| ''Pioniere in Ingolstadt''
|
| TV movie Based on the 1926 play by [[Marieluise Fleißer]]
|-
| 1972
| ''[[The Merchant of Four Seasons]]''
| ''Händler der vier Jahreszeiten''
| Zucker / Hans's friend
| Uncredited
|-
| 1972
| ''[[The Bitter Tears of Petra von Kant]]''
| ''Die bitteren Tränen der Petra von Kant''
|
| Based on Fassbinder's play
|-
| 1972–1973
| ''[[Eight Hours Don't Make a Day]]''
| ''Acht Stunden sind kein Tag''
|
| TV Series, 5 episodes
|-
| 1972
| ''{{Interlanguage link multi|Bremen Freedom|de|3=Bremer Freiheit|lt=Bremen Freedom}}''
| ''Bremer Freiheit''
| Rumpf
| TV movie, Uncredited Based on Fassbinder's play
|-
| 1973
| ''[[The Tenderness of Wolves (film)|The Tenderness of Wolves]]''
| ''Die Zärtlichkeit der Wölfe ''
| Wittowski
|
|-
| 1973
| ''{{Interlanguage link multi|Wildwechsel|de|3=Wildwechsel (Film)|lt=Jail Bait}}''
| ''Wildwechsel''
|
| TV movie Based on [[Franz Xaver Kroetz]]'s 1971 play
|-
| 1973
| ''[[World on a Wire]]''
| ''Welt am Draht''
|
| TV movie in two parts Based on the 1964 novel ''[[Simulacron-3]]'' by [[Daniel F. Galouye]] Co-written with Fritz Müller-Scherz
|-
| 1974
| ''[[Ali: Fear Eats the Soul]]''
| ''Angst essen Seele auf''
| Eugen, Krista's husband
| Uncredited Inspired by Douglas Sirk's ''[[All That Heaven Allows]]''
|-
| 1974
| ''{{Interlanguage link multi|Nora Helmer (film)|fr|3=Nora Helmer|lt=Nora Helmer}}''
| ''Nora Helmer''
|
| Video recording for German TV Based on ''[[A Doll's House]]'' by [[Henrik Ibsen|Ibsen]] (German translation by Bernhard Schulze)
|-
| 1974
| ''[[Martha (1974 film)|Martha]]''
| ''Martha''
|
| 16mm TV movie Based on the story "For the Rest of Her Life" by [[Cornell Woolrich]]
|-
| 1974
| ''[[Effi Briest (1974 film)|Effi Briest]]''
| ''Fontane – Effi Briest oder: Viele, die eine Ahnung haben von ihren Möglichkeiten und Bedürfnissen und dennoch das herrschende System in ihrem Kopf akzeptieren durch ihre Taten und es somit festigen und durchaus bestätigen''
| Narrator
| Uncredited Based on [[Theodor Fontane]]'s 1894 [[Effi Briest|novel of the same name]]
|-
| 1975
| ''Like a Bird on a Wire''
| ''Wie ein Vogel auf dem Draht''
|
| TV movie Co-written with Christian Hohoff and Anja Hauptmann
|-
| 1975
| ''[[Fox and His Friends]]''
| ''Faustrecht der Freiheit''
| Franz Biberkopf
| Co-written with Christian Hohoff
|-
| 1975
| ''[[Mother Küsters' Trip to Heaven]]''
| ''Mutter Küsters Fahrt zum Himmel''
|
| Co-written with Kurt Raab Based on the short story "Mutter Krausens Fahrt Ins Glück" by [[Heinrich Zille]]
|-
| 1975
| ''{{Interlanguage link multi|Angst vor der Angst|de|3=Angst vor der Angst|lt=Fear of Fear}}''
| ''Angst vor der Angst''
|
| TV movie Based on [[Asta Scheib]]'s 1974 novel ''Langsame Tage''
|-
| 1976
| ''[[Shadow of Angels]]''
| ''Schatten der Engel''
| Raoul
|
|-
| 1976
| ''[[I Only Want You To Love Me]]''
| ''Ich will doch nur, daß ihr mich liebt''
|
| TV movie Based on the book ''Lebenslänglich'' by Klaus Antes and Christiane Erhardt
|-
| 1976
| ''[[Satan's Brew]]''
| ''Satansbraten''
|
|
|-
| 1976
| ''[[Chinese Roulette]]''
| ''Chinesisches Roulette''
|
|
|-
| 1977
| ''Adolfo & Marlene''
| ''Adolf und Marlene''
| Hermann
|
|-
| 1977
| ''{{Interlanguage link multi|Women in New York|de|3=Frauen in New York|lt=Women in New York}}''
| ''Frauen in New York''
|
| TV movie Based on [[Clare Boothe Luce]]'s ''[[The Women (play)|The Women]]''
|-
| 1977
| ''{{Interlanguage link multi|Bolwieser|de|3=Bolwieser|lt=The Stationmaster's Wife}}''
| ''Bolwieser''
|
| TV movie in two parts Based on [[Oskar Maria Graf]]'s 1931 novel ''Bolwieser: The Novel of a Husband''
|-
| 1978
| ''Der kleine Godard an das Kuratorium junger deutscher Film''
| ''Der kleine Godard an das Kuratorium junger deutscher Film''
| Second Director
|
|-
| 1978
| ''[[Germany in Autumn]]''
| ''Deutschland im Herbst''
|
| Short [[omnibus film]]
|-
| 1978
| ''[[Despair (film)|Despair]]''
| ''Despair – Eine Reise ins Licht''
|
| Screenplay by [[Tom Stoppard]] Based on [[Vladimir Nabokov]]'s [[Despair (novel)|1936 novel]]
|-
| 1978
| ''[[In a Year of 13 Moons]]''
| ''In einem Jahr mit 13 Monden''
|
| Director
|-
| 1979
| ''[[The Marriage of Maria Braun]]''
| ''Die Ehe der Maria Braun''
|
| Co-written with [[Pea Fröhlich]] and [[Peter Märthesheimer]]
|-
| 1979
| ''[[The Third Generation (1979 film)|The Third Generation]]''
| ''Die dritte Generation''
| Peddler
|
|-
| 1980
| ''[[Berlin Alexanderplatz (television)|Berlin Alexanderplatz]]''
| ''Berlin Alexanderplatz''
| Erzähler
| [[Miniseries]], 13 episodes Based on the [[Alfred Döblin]]'s [[Berlin Alexanderplatz|1929 novel]]
|-
| 1981
| ''[[Lili Marleen (film)|Lili Marleen]]''
| ''Lili Marleen''
| Günther Weissenborn
| Uncredited Based on [[Lale Andersen]] autobiography ''Der Himmel hat viele Farben'' Co-written with Manfred Purzer and Joshua Sinclair
|-
| 1981
| ''Theater in Trance''
| ''Theater im Trance''
|
| Documentary
|-
| 1981
| ''Heute spielen wir den Boß''
| ''Heute spielen wir den Boß''
| Man
| Uncredited
|-
| 1981
| ''[[Lola (1981 film)|Lola]]''
| ''Lola''
|
| Co-written with Pea Fröhlich and Peter Märthesheimer
|-
| 1982
| ''[[Die Sehnsucht der Veronika Voss|Veronika Voss]]''
| ''Die Sehnsucht der Veronika Voss''
| Kinobesucher
| Uncredited Co-written with Pea Fröhlich and Peter Märthesheimer
|-
| 1982
| ''[[Querelle]]''
| ''Querelle''
|
| Based on [[Jean Genet]]'s 1953 novel ''[[Querelle of Brest]]'' Co-written with [[Burkhard Driest]]
|-
| 1982
| ''[[Kamikaze 1989]]''
| ''Kamikaze 1989''
| Polizeileutnant Jansen
|
|-
| 1983
| ''Die Erbtöchter''
| ''Die Erbtöchter''
|
| (segment "Flüchtige Umarmungen")
|}

==Plays==
* 1965: ''Nur eine Scheibe Brot'' (1995, Volkstheater Wien as part of the Bregenzer Festspielen)
* 1966: ''[[Tropfen auf heiße Steine]]'' (1985, Theaterfestival München; filmed in 2000 by [[François Ozon]] as ''[[Water Drops on Burning Rocks|Gouttes d'eau sur pierres brûlantes]]'')
* 1968: ''[[Katzelmacher]]'' (Action-Theater in Munich, filmed by Fassbinder 1969; received [[Gerhart-Hauptmann-Preis]])
* 1968: ''Der amerikanische Soldat'' (Antiteater in Munich, filmed by Fassbinder 1970)
* 1969: ''Preparadise sorry now'' (Based on the case of [[Myra Hindley]] and [[Ian Brady]], [[Antiteater]] in München)
* 1969: ''Anarchie in Bayern'' (Antiteater in Munich)
* 1969: ''Gewidmet Rosa von Praunheim'' (Antiteater in Munich)
* 1969: ''{{Interlanguage link multi|Das Kaffeehaus (play)|it|3=La bottega del caffè (Fassbinder)|lt=Das Kaffeehaus}}'' (based on [[Carlo Goldoni]]'s ''La bottega del caffè'', [[Schauspielhaus Bremen]]. Filmed by Fassbinder 1970)
* 1969: ''Werwolf'' (in collaboration with [[Harry Baer]]'s Antitheather in Berlin)
* 1970: ''Das brennende Dorf'' (Based on ''Fuente Ovejuna'' by [[Lope de Vega]], Schauspielhaus Bremen)
* 1971: ''[[Blood on the Cat's Neck|Blut am Hals der Katze]]'' (Antiteater in Nürnberg)
* 1971: ''[[Die bitteren Tränen der Petra von Kant]]'' ([[Deutsche Akademie der Darstellenden Künste]] or [[Experimenta]] in Frankfurt am Main. Filmed by Fassbinder 1972)
* 1971: ''[[Bremer Freiheit]]'' (Based on the case of [[Gesche Gottfried]], Schauspielhaus Bremen. Filmed by Fassbinder 1972)
* 1973: ''Bibi'' (Based on the play ''Bibi - Seine Jugend in drei Akten'' by [[Heinrich Mann]], [[Schauspielhaus Bochum|Theater Bochum]])
* 1975: ''Der Müll, die Stadt und der Tod'' (German premiere in 2009 at the Theater an der Ruhr in [[Mülheim an der Ruhr|Mülheim]]; filmed in 1976 as ''[[Schatten der Engel]]'' by [[Daniel Schmid]])

==Films and documentaries about Fassbinder==
* ''Rainer Werner Fassbinder'' (1977) – German documentary made by Florian Hopf and Maximiliane Mainka. (29 minutes)
* ''Life Stories: A Conversation with RWF'' (German title: ''Lebensläufe - Rainer Werner Fassbinder im Gespräch'', 1978) – German TV documentary made by Peter W. Jansen as part of a regular series. Contains an in-depth interview given by RWF in his Paris home. Originally aired on 18 March 1978. (48 minutes)
* ''RWF Last Works'' (German title: ''RWF Letzte Arbeiten'', 1982) - German TV documentary made by [[Wolf Gremm]] during the shooting of ''Kamikaze 1989'' and ''[[Querelle]]''.
* ''[[Room 666]]'' (German title: ''Chambre 666'', 1982) – Along with a number of his peers, Fassbinder participated in this [[Wim Wenders]] documentary project. (50 minutes)
* ''A Man Like Eva'' (German title: ''Ein Mann wie EVA, 1984'') – [[Eva Mattes]] plays a fictionalized version of Fassbinder in this film directed by [[Radu Gabrea]].(92 minutes) <ref>{{Cite news|last=Canby|first=Vincent|date=1985-06-26|title=Film: 'A Man Like Eva'|language=en-US|work=The New York Times|url=https://www.nytimes.com/1985/06/26/movies/film-a-man-like-eva.html|access-date=2020-06-23|issn=0362-4331}}</ref>
* ''I Don't Just Want You to Love Me'' (1992) – German feature-length documentary on Fassbinder's career. (90 minutes)
* ''The Women of Fassbinder'' (German title: ''Frauen über R. W. Fassbinder'' 1992) – German television documentary made by Thomas Honickel. [[Margit Carstensen]], Irm Hermann, Hanna Schygulla and (briefly) Rosel Zech are interviewed. (60 minutes)
* ''The Many Women of Fassbinder'' (1997)
* ''Life, Love and Celluloid'' (1998) – English language documentary film by Juliane Lorenz centring on the 1997 [[Museum of Modern Art]] retrospective in New York. [[Gottfried John]] and Günter Lamprecht are featured. (90 minutes)
* ''Fassbinder in Hollywood'' (2002) – Documentary made by Robert Fischer (mainly in English) and co-written by [[Ulli Lommel]], who also appears. [[Michael Ballhaus]], [[Hanna Schygulla]] and [[Wim Wenders]] are interviewed. (57 minutes)
* ''Fassbinder's Women'' (2005) – French thematic anthology of film clips. (25 minutes)
* ''[[Enfant Terrible (film)|Enfant Terrible]]'', 2020 film directed by [[Oskar Roehler]]

==References==
{{reflist}}

===Bibliography===
* {{cite book|last=Baer|first=Harry|author-link=Harry Baer|title=Ya Dormiré cuando este Muerto|year=1986|publisher=Seix Barrall|isbn=84-322-4572-0}}
* {{cite book|last=Cappello|first=Mary|title=Awkward: A Detour|year=2007|publisher=Bellevue Literary Press|isbn=978-1-934137-01-7|url=https://archive.org/details/awkward00mary}}
* {{cite book|last=Elsaesser|first=Thomas|title=Fassbinder's Germany. History Identity Subject|year=1996|publisher=Amsterdam University Press|isbn=90-5356-059-9}}
* {{cite book|last=Hayman|first=Ronald|author-link=Ronald Hayman|title=Fassbinder: Film Maker|url=https://archive.org/details/fassbinderfilmma0000haym|url-access=registration|year=1984|publisher=Simon & Schuster|isbn=0-671-52380-5}}
* {{cite book|last=Hermes|first=Manfred|title=Hystericizing Germany. Fassbinder, Alexanderplatz|year=2014|publisher=Sternberg Press|isbn=978-3-95679-004-1}}
* {{cite book|last=Iden|first=Peter|title=Fassbinder|year=1981|publisher=Tanam Press|edition=1|isbn=0-934378-17-7}}
* {{cite book|editor-last1=Kardish |editor-first1=Laurence |editor-last2=Lorenz |editor-first2=Juliane |title=Rainer Werner Fassbinder: The Museum of Modern Art, New York, January 23 - March 20, 1977|year=1997|publisher=Museum of Modern Art|isbn=0-87070-109-6}}
* {{cite book|last=Katz|first=Robert|author-link=Robert Katz|title=Love Is Colder Than Death : The Life and Times of Rainer Werner Fassbinder|year=1987|publisher=Random House|isbn=0-394-53456-5|url=https://archive.org/details/loveiscolderthan00katz}}
* {{cite book |editor-last1=Lorenz |editor-first1=Juliane |editor-last2=Schmid |editor-first2=Marion |editor-last3=Gehr |editor-first3=Herbert |title=Chaos as Usual: Conversations About Rainer Werner Fassbinder|year=1997|publisher=Applause Books|isbn=1-55783-262-5}}
* {{cite journal|last=Pipolo|first=Tony|title=Straight from the Heart: Reviewing the Films of Rainer Werner Fassbinder|journal=[[Cineaste (magazine)|Cineaste]]|volume=29|issue=4|date=September 2004|pages=18–25|issn=0009-7004}}
* Rufell, Joe (2002). ''Rainer Werner Fassbinder''. Senses of Cinema: Great Directors Critical Database
*{{cite book|last=Sandford|first=Joe|title=The New German Cinema|year=1982|publisher=Da Capo Paperback|isbn=0-306-80177-9}}
* {{cite book|last=Silverman|first=Kaja|title=Male Subjectivity at the Margins|year=1992|publisher=Psychology Press|isbn=0-415-90419-6}}
* {{cite book|last=Thomsen|first=Christian Braad|title=Fassbinder: Life and Work of a Provocative Genius|year=2004|publisher=University of Minnesota Press|isbn=0-8166-4364-4}}
* {{cite book|editor=Vincendeau|editor-first= Ginette|title=Encyclopedia of European Cinema|year=1995|publisher=Cassell|isbn=0-304-34164-9}}
* {{cite journal|last=Watson|first=Wallace Steadman|title=The Bitter Tears of RWF|journal=[[Sight & Sound]]|publisher=British Film Institute|date=July 1992|pages=24–29|issn=0037-4806}}
* {{cite book|last=Watson|first=Wallace Steadman|title=Understanding Rainer Werner Fassbinder: Film as Private and Public Art|url=https://archive.org/details/understandingrai0000wats|url-access=registration|year=1996|publisher=University of South Carolina Press|isbn=1-57003-079-0}}

==Further reading==

===Archival sources===
*[http://beta.worldcat.org/archivegrid/?p=1&q=rainer+fassbinder Various manuscript items] are held at a number of repositories

==External links==
{{Commons category}}
* [http://www.fassbinderfoundation.de Fassbinder Foundation] {{in lang|de}}
* {{IMDb name|1202}}
* [http://jclarkmedia.com/fassbinder/index.html#introduction Overview of Fassbinder's cinematic and theatre careers]
* [http://www.lib.berkeley.edu/MRC/Germanfilmbib.html#Fassbinder Fassbinder Bibliography (via UC Berkeley)]
* [http://www.villagevoice.com/film/0309,sontag,42133,20.html Interview with Hanna Schygulla about Fassbinder]
* {{YouTube|zDjyxgerif4|Short film clip with Fassbinder's editor Julianne Lorenz}}
* [http://www.filmdenken.de/essay/fassbinder.htm Essay on Fassbinder's Films] {{in lang|de}}
* [http://www.goethe.de/kue/flm/far/en6013539.htm "We still miss him"], Goethe Institut article, May 2010
* [http://www.peterlind.org/o/#Der_Müll,_die_Stadt_und_der_Tod ''Garbage, the City, and Death''], Copenhagen 1987, photostream by [[Peter Lind]] featuring photos of Fassbinder
* {{Find a Grave|7918599}}

{{Rainer Werner Fassbinder}}
{{Authority control}}

{{DEFAULTSORT:Fassbinder, Rainer Werner}}
[[Category:1945 births]]
[[Category:1982 deaths]]
[[Category:20th-century German dramatists and playwrights]]
[[Category:20th-century German male actors]]
[[Category:Barbiturates-related deaths]]
[[Category:Directors of Golden Bear winners]]
[[Category:Best Director German Film Award winners]]
[[Category:Bisexual male actors]]
[[Category:German male actors]]
[[Category:Bisexual writers]]
[[Category:German writers]]
[[Category:Cocaine-related deaths]]
[[Category:Drug-related deaths in Germany]]
[[Category:English-language film directors]]
[[Category:German experimental filmmakers]]
[[Category:Mass media people from Bavaria]]
[[Category:German male dramatists and playwrights]]
[[Category:German male film actors]]
[[Category:German male television actors]]
[[Category:German screenwriters]]
[[Category:LGBT directors]]
[[Category:German film directors]]
[[Category:LGBT dramatists and playwrights]]
[[Category:LGBT screenwriters]]
[[Category:LGBT writers from Germany]]
[[Category:People from Unterallgäu]]
[[Category:Male screenwriters]]
[[Category:20th-century screenwriters]]

Love Is Colder Than Death (film)

2020-12-23T13:21:20Z

Invulgo: /* Cast */ clarified Katrin Schaake's role

{{Infobox film
| name =Love Is Colder Than Death
| image =Liebe_ist_kälter.jpg
| image_size =
| caption =Theatrical release poster
| director =[[Rainer Werner Fassbinder]]
| producer =[[Peer Raben]] [[Thomas Schamoni]]
| writer =Rainer Werner Fassbinder
| narrator =
| starring =Rainer Werner Fassbinder [[Ulli Lommel]] [[Hanna Schygulla]] [[Ingrid Caven]]
| music = [[Holger Münzer]] [[Peer Raben]]
| cinematography = [[Dietrich Lohmann]]
| editing =
| distributor =
| released = 26 June 1969 ([[Berlin International Film Festival]])
| runtime = 88 minutes
| country = West Germany
| language = German
| budget = [[DEM]] 95,000
| gross =
| preceded_by =
| followed_by =
}}
'''''Love is Colder Than Death''''' ({{lang-de|'''Liebe ist kälter als der Tod'''}}) is a 1969 West German [[black-and-white]] film directed by [[Rainer Werner Fassbinder]], his first feature film. In the original theater presentation in Berlin the title was first ''Kälter als der Tod''; at the beginning of film production, it was ''Liebe – kälter als der Tod'' as on some film posters. The cinematographer [[Dietrich Lohmann]] and the cast as an ensemble won an award at the [[German Film Awards]] in 1970.

==Plot==
Petty hood Franz (Fassbinder) refuses to join the syndicate, where he meets a handsome young thug called Bruno (Lommel) and gives him his address in [[Munich]]. It is the flat of the prostitute Joanna (Schygulla), where Franz lives as her pimp. Bruno has been ordered by the syndicate to follow Franz and on going to the address is told he has moved. So he goes round the streets of the city asking prostitutes if they know a whore called Joanna.

Eventually he finds where the pair are hiding, because Franz is being sought by a Turk for killing his brother. Bruno offers to solve the problem, so the three go to the café where the Turk can be found and shoot him. As they leave, Bruno also shoots the waitress who is the only witness. Franz is picked up by the police for both killings and, while he is held for questioning, Joanna starts an affair with Bruno.

When Franz is freed because the police have no evidence, the three then plan a bank robbery. As they arrive outside, plain clothes police appear and Bruno is killed in a shootout while Franz and Joanna get away. In the car she tells him she had tipped the cops off about the robbery. He says "Nutte" [whore] and keeps on driving as the film fades to white.<ref>Thomas Elsaesser, ''Fassbinder's Germany: History, Identity, Subject'' (Amsterdam University Press, 1996; {{ISBN|9053560599}}), p. 267.</ref><ref>Wallace Steadman Watson, ''Understanding Rainer Werner Fassbinder: Film as Private and Public Art'' (Univ. of South Carolina Press, 1996; {{ISBN|1570030790}}), p. 69.</ref><ref>Laurence Kardish (ed.), ''Rainer Werner Fassbinder'' (Museum of Modern Art, 1997; {{ISBN|0870701096}}), p. 42.</ref>

==Cast==
{{div col}}
* [[Ulli Lommel]] – Bruno
* [[Rainer Werner Fassbinder]] – Franz
* [[Hanna Schygulla]] – Joanna
* Katrin Schaake – Woman on train
* Liz Soellner – Newspaper Saleswoman
* Gisela Otto – Prostitute
* Ursula Strätz – Prostitute
* Monika Stadler – Waitress
* Hans Hirschmüller – Peter
* Les Olvides – Georges
* [[Peer Raben]] – Jürgen
* Howard Gaines – Raoul
* Peter Moland – Interrogator
* [[Kurt Raab]] – Department Store Detective
* [[Peter Berling]] – Weapons Seller
* Anastassios Karalas – Turkish Man
{{div col end}}

==Reception==
Initial reception was generally negative, and the film was even booed at the [[19th Berlin International Film Festival]] in 1969.<ref>{{cite web|url=http://www.cinematheque.bc.ca/archives/fassbind.html|title=Rainer Werner Fassbinder|work=Cinematheque.bc.ca|archiveurl=https://web.archive.org/web/20060826081810/http://www.cinematheque.bc.ca/archives/fassbind.html|archivedate=2006-08-26|url-status=dead}}</ref> Today, however, it is seen{{according to whom|date=December 2018}} as a fine example of Fassbinder's early style, with a heavy '[[nouvelle vague]]' influence.

The film is dedicated to "[[Claude Chabrol]], [[Éric Rohmer]], [[Straub-Huillet|Jean-Marie Straub]], Linio, and Cuncho". The last two refer to the main characters in [[Damiano Damiani]]'s 1966 film ''[[A Bullet for the General]]''. Ulli Lommel's styling (and also the poster artwork) is inspired by Alain Delon in ''[[Le Samouraï]]''.

== References ==
{{Reflist}}

== External links ==
* {{IMDb title|0064588|Love Is Colder Than Death}}
* [http://www.criterion.com/current/posts/2880-eclipse-series-39-early-fassbinder Criterion Collection essay by Michael Koresky]

{{Rainer Werner Fassbinder}}

[[Category:1969 films]]
[[Category:1960s avant-garde and experimental films]]
[[Category:1969 crime films]]
[[Category:German avant-garde and experimental films]]
[[Category:German crime films]]
[[Category:West German films]]
[[Category:German-language films]]
[[Category:Films directed by Rainer Werner Fassbinder]]
[[Category:German black-and-white films]]
[[Category:Gangster films]]
[[Category:Films about prostitution in Germany]]
[[Category:Films set in Munich]]
[[Category:1969 directorial debut films]]

Beware of a Holy Whore

2020-12-23T08:36:24Z

Invulgo: /* Cast */ added Kurt Raab's role to the credits

{{Infobox film
| name = Beware of a Holy Whore
| image = Beware of a Holy Whore.jpg
| image_size =
| caption = Theatrical release poster
| director = [[Rainer Werner Fassbinder]]
| producer =
| writer = [[Rainer Werner Fassbinder]]
| narrator =
| music = [[Peer Raben]]
| cinematography = [[Michael Ballhaus]]
| editing = Thea Eymèsz Franz Walsch (Fassbinder)
| distributor =
| released = 28 August 1971 ([[Venice Film Festival]])<ref>{{cite web|url=http://www.filmportal.de/en/movie/warnung-vor-einer-heiligen-nutte_ea43d4a6abc95006e03053d50b37753d|title=''Warnung vor einer heiligen Nutte''|website=[[Filmportal.de]]|access-date=29 February 2016}}</ref> 1 September 1971 (''West Germany'') 11 November 1976 (''US'')
| runtime = 103 min.
| country = [[West Germany]]
| language = German, English, French, Spanish
| budget =
| preceded_by =
| followed_by =
}}
'''''Beware of a Holy Whore''''' ({{lang-de|'''Warnung vor einer heiligen Nutte'''}}) is a 1971 West German drama film written and directed by [[Rainer Werner Fassbinder]] that features [[Lou Castel]], [[Eddie Constantine]], [[Hanna Schygulla]] and Fassbinder himself.

While in a hotel with too much drink, drugs and time the cast and crew of a film are gradually unravelling as they await the arrival of their director. Semi-autobiographical, the film was influenced by the shooting of the director's earlier ''[[Whity (film)|Whity]]'' in Spain. The film features music from [[Leonard Cohen]]'s first album ''[[Songs of Leonard Cohen]]'' and from ''[[Spooky Two]]'' by [[Spooky Tooth]], among others.

== Plot ==

''Beware of a Holy Whore'' opens with a soliloquy (delivered by [[Werner Schroeter]]) about the synopsis of a [[The Walt Disney Company|Disney]] story featuring [[Goofy]], the dog. Goofy [[Transvestism|cross-dresses]] in his aunt's clothes to teach a kindergarten class and, after being ridiculed by the class, takes a "poor orphan girl" into his home. The little girl is actually a dwarf gangster, Wee Willy, and he fools Goofy into caring for him by wearing the clothes that Goofy discarded after being ridiculed by the school children. That night Goofy's house is raided by police and Wee Willy is arrested, revealing the "poor orphan girl's" true identity to Goofy. When Willy's true identity is revealed the confused Goofy says, "What a shock that must have been for the poor little girl when she discovered that she is a crook". In both instances—attempting to teach the kindergarten class and caring for Wee Willy—Goofy is beaten by those for whom he only sought to care. This opening soliloquy alludes to the film's underlying themes of violence, self-blindness, and same-sex and bisexual relationships.<ref>{{cite web|url=http://jclarkmedia.com/fassbinder/fassbinder11.html|title=Jim's Reviews - Fassbinder's Beware of a Holy Whore|website=Jclarkmedia.com|accessdate=3 September 2018}}</ref>
The action of the movie then moves to a coastal hotel in Spain where the cast of the film's meta-film "Patria O Muerte" are waiting for production money and the director (Lou Castel) and the star (Eddie Constantine, as himself) to arrive. While waiting for everything the cast engages in sexual intrigues (both same-sex and opposite-sex), slander, and challenging power dynamics amongst themselves. The director then arrives by helicopter and inserts himself in the mix of cast interactions in a draconian manner, flaring the already discordant interactions among the cast. The remainder of the production depicts the mayhem of a movie production wrought with vicissitude and conflicting power dynamics.<ref>{{cite book|url=https://books.google.com/books?id=Ks5cULQvt4oC&q=what+is+the+meta-film+of+beware+of+a+holy+whore&pg=PA274|title=Fassbinder's Germany: History, Identity, Subject|first=Thomas|last=Elsaesser|date=3 September 1996|publisher=Amsterdam University Press|isbn=9789053560594|accessdate=3 September 2018|via=Google Books}}</ref> Fassbinder described the production as “a film about why living and working together as a group doesn’t function, even with people who want it to and for whom the group is life itself”.<ref>{{cite web|url=http://www.filmcomment.com/entry/fassbinder-beware-a-holy-whore|title=Fassbinder Diary #3: Beware a Holy Whore - Film Comment|date=26 May 2014|website=Filmcomment.com|accessdate=3 September 2018}}</ref>

== Cast ==

*[[Lou Castel]] as Jeff
*[[Eddie Constantine]] as himself
*[[Marquard Bohm]] as Ricky
*[[Hanna Schygulla]] as Hanna
*[[Rainer Werner Fassbinder]] as Sascha
*[[Margarethe von Trotta]] as Babs
*[[Hannes Fuchs (actor)|Hannes Fuchs]] as David
*[[Marcella Michelangeli]] as Margret
*Karl Scheydt as Manfred
*[[Ulli Lommel]] as Korbinian, manager
*[[Monica Teuber]] as Billi, makeup artist
*[[Magdalena Montezuma]] as Irm, Jeff's ex
*[[Werner Schroeter]] as Deiters
*[[Kurt Raab]] as Fred

==References==
{{Reflist}}

==External links==
* {{IMDb title|0067962|Beware of a Holy Whore}}

{{Rainer Werner Fassbinder}}

{{DEFAULTSORT:Beware Of A Holy Whore}}
[[Category:1971 films]]
[[Category:1970s avant-garde and experimental films]]
[[Category:1971 drama films]]
[[Category:Films about drugs]]
[[Category:Films about filmmaking]]
[[Category:Films directed by Rainer Werner Fassbinder]]
[[Category:German avant-garde and experimental films]]
[[Category:German drama films]]
[[Category:German-language films]]
[[Category:West German films]]

Lou Castel

2020-12-22T14:54:02Z

Invulgo: /* Life and career */ spelling issue

{{Use dmy dates|date=June 2013}}
{{Infobox person
|image = Lou Castel-1965.png
| name = Lou Castel
| birth_name = Ulv Quarzell
| birth_date = {{Birth date and age|1943|5|28|df=y}}
| birth_place = [[Bogotá]], [[Colombia]]
| death_date =
| death_place =
| nationality = Swedish
| occupation = Actor
| yearsactive = 1963 - Present
}}
'''Lou Castel''' (born ''' Ulv Quarzell'''; 28 May 1943) is an [[Italians|Italian]]-[[Colombia]]n-[[Sweden|Swedish]] [[character actor]] who became known through his work in [[Cinema of Italy|Italian films]],<ref name=tele>{{cite web|work=[[Télérama]]|title=Lou Castel, le comédien banni par l'Italie|url=http://www.telerama.fr/cinema/lou-castel-le-comedien-banni-par-l-italie,144800.php|date=13 July 2016}}</ref> most notably for his starring role in [[Damiano Damiani]]'s ''[[A Bullet for the General]]'' (1967).

==Life and career==
The son of a Swedish father and an [[Ireland|Irish]] mother, Castel was born '''Ulv Quarzell''' in [[Bogotá]], [[Colombia]], where his father was working as a [[diplomat]]. He and his twin brother grew up in [[Cartagena, Colombia|Cartagena]].<ref name=tele/>

When Castel was 6, his parents separated. He followed his mother to Europe and went to school in [[London]], then in [[Stockholm]]. He subsequently went to live in [[Rome]] where his mother was working in the local film industry. A militant [[communism|communist]], Castel's mother also introduced her son to politics.<ref name=tele/>

Interested in acting from an early age, he attended the [[Centro Sperimentale di Cinematografia]], but was quickly kicked out. His first movie role was an uncredited extra in ''[[The Leopard (1963 film)|The Leopard]]'' (1963). Two years later, he gained international fame for his performance in ''[[Fists in the Pocket]]'', in which he played the epileptic Alessandro, who murders his mother and his brother. His career in Italy included arthouse pictures, but also [[spaghetti western]]s and also softcore erotica.<ref name=tele/> He later played Jeff, the temperamental bisexual film director in ''[[Beware of a Holy Whore]]'' (1971), directed by [[Rainer Werner Fassbinder]]. Fassbinder himself portrayed the film's line producer.

While living in Italy, Castel became involved in a [[maoism|maoist]] organization. As Italy was going through the [[Years of Lead (Italy)|Years of Lead]] period, he was eventually considered an undesirable alien. In 1972, he was deported to Sweden where he no longer had any acquaintances. He eventually bounced back and appeared in films directed by [[Wim Wenders]] and [[Claude Chabrol]].<ref name=tele/>

Castel settled in [[France]] in the early 1990s.<ref name=tele/> Though the quality of the films he acted in were quite disparate, ranging from arthouse films to cheap exploitation, Castel always chose roles that reflected his militant leftist beliefs.

He has a son from the actress [[Marcella Michelangeli]].<ref name=tele/>

==Selected filmography==
{| class="wikitable sortable"
|-
! Year
! Title
! Role
! Director
! class="unsortable" | Notes
|-
|1963
|''[[The Leopard (1963 film)|Il Gattopardo]]''
|Party Guest
|[[Luchino Visconti]]
|Uncredited
|-
|1965
|''[[Fists in the Pocket]]''
|Alessandro
|[[Marco Bellocchio]]
|
|-
|1966
|''{{Interlanguage link multi|Francis of Assisi (1966 film)|it|3=Francesco d'Assisi (film 1966)|lt=Francis of Assisi}}''
|Francis of Assisi
|[[Liliana Cavani]]
|TV film
|-
|rowspan=2|1967
|''[[A Bullet for the General]]''
|Bill 'Niño' Tate
|[[Damiano Damiani]]
|
|-
|''[[Requiescant]]''
|Requiescant
|[[Carlo Lizzani]]
|
|-
|rowspan=5|1968
|''[[The Protagonists (1968 film)|The Protagonists]]''
|Taddeu
|[[Marcello Fondato]]
|
|-
|''[[Come Play with Me (1968 film)|Come Play with Me]]''
|Alvise
|[[Salvatore Samperi]]
|
|-
|''[[Galileo (1968 film)|Galileo]]''
|Friar, Young monk of the Vatican
|[[Liliana Cavani]]
|
|-
|''{{Interlanguage link multi|Lucrezia (1968 film)|it|3=Lucrezia (film)|lt=Lucrezia}}''
|Cesare Borgia
|[[Osvaldo Civirani]]
|
|-
|''La prova generale''
|
|Romano Scavolini
|
|-
|1969
|''[[Orgasmo]]''
|Peter Donovan
|[[Umberto Lenzi]]
|
|-
|rowspan=3|1970
|''{{Interlanguage link multi|Con quale amore, con quanto amore|it}}''
|Ernesto
|[[Pasquale Festa Campanile]]
|
|-
|''Bocche cucite''
|Carmelo La Manna
|Pino Tosini
|
|-
|''[[Matalo!]]''
|Ray
|[[Cesare Canevari]]
|
|-

|1971
|''[[Beware of a Holy Whore]]''
|Jeff, the director
|[[Rainer Werner Fassbinder]]
|
|-
|rowspan=2|1972
|''{{Interlanguage link multi|Nel nome del padre|it|3=Nel nome del padre (film 1972)|lt=Nel nome del padre}}''
|Salvatore
|[[Marco Bellocchio]]
|
|-
|''[[Who Killed the Prosecutor and Why?]]''
|Carlo
|[[Giuseppe Vari]]
|
|-
|1973
|''[[The Scarlet Letter (1973 film)|The Scarlet Letter]]''
|Rev. Dimmesdale
|[[Wim Wenders]]
|
|-
|rowspan=3|1974
|''[[Nada (1974 film)|Nada]]''
|D'Arey
|[[Claude Chabrol]]
|
|-
|''[[Gangsterfilmen]]''
|Simon
|Lars G. Thelestam
|
|-
|''[[Output (film)|Output]]''
|Gorski
|[[Michael Fengler]]
|
|-
|1975
|''[[Faccia di spia]]''
|The torturer
|[[Giuseppe Ferrara]]
|
|-
|rowspan=3|1976
|''[[Pure as a Lily]]''
|Luciano
|[[Franco Rossi (director)|Franco Rossi]]
|
|-
|''[[The Cassandra Crossing]]''
|Swedish terrorist
|[[George P. Cosmatos]]
|
|-
|''[[Caro Michele]]''
|Osvaldo
|[[Mario Monicelli]]
|
|-
|rowspan=6|1977
|''[[Change of Sex]]''
|Durán
|[[Vicente Aranda]]
|
|-
|''[[Pigs Have Wings (film)|Pigs Have Wings]]''
|Marcello
|[[Paolo Pietrangeli]]
|
|-
|''[[The American Friend]]''
|Rodolphe
|[[Wim Wenders]]
|
|-
|''[[Les Enfants du placard]]''
|Nicola
|[[Benoît Jacquot]]
|
|-
|''[[Italia: Ultimo atto?]]''
|Marco
|[[Massimo Pirri]]
|
|-
|''Mr. Mean''
|Huberto
|[[Fred Williamson]]
|
|-
|rowspan=3|1978
|''[[Violanta (film)|Violanta]]''
|Silver
|[[Daniel Schmid]]
|
|-
|''[[Flesh Color]]''
|Psychiatrist
|[[François Weyergans]]
|
|-
|''[[Killer Nun]]''
|Peter
|Giulio Berruti
|
|-
|1980
|''[[Ombre (film)|Ombre]]''
|Renato
|[[Giorgio Cavedon]]
|{{sfn|Curti|2019|p=39}}{{sfn|Curti|2019|p=40}}
|-
|1982
|''[[Gli occhi, la bocca]]''
|Giovanni Pallidissimi / Pippo Pallidissimi
|[[Marco Bellocchio]]
|
|-
|1983
|''Trauma''
|Le Maitre
|{{Interlanguage link multi|Gabi Kubach|de}}
|
|-
|1984
|''Love Is the Beginning of All Terror''
|Traugott
|[[Helke Sander]]
|
|-
|rowspan=2|1985
|''[[Treasure Island (1985 film)|Treasure Island]]''
|Doctor / Father
|[[Raúl Ruiz (director)|Raúl Ruiz]]
|
|-
|''[[Fraulein (1986 film)|Fraulein]]''
|André
|[[Michael Haneke]]
|TV film
|-
|1986
|''[[Hôtel du Paradis]]''
|Tramp
|[[Jana Boková]]
|
|-
|
|''[[Nanou (film)|Nanou]]''
|Italian activist
|Conny Templeman
|
|-
|rowspan=2|1987
|''[[Man on Fire (1987 film)|Man on Fire]]''
|Violente
|[[Élie Chouraqui]]
|
|-
|''{{Interlanguage link multi|Rorret|it}}''
|Joseph Rorret
|[[Fulvio Wetzl]]
|
|-
|1989
|''[[What Time Is It? (film)|What Time Is It?]]''
|Fisherman
|[[Ettore Scola]]
|
|-
|rowspan=2|1991
|''{{Interlanguage link multi|Fuga da Kayenta|it}}''
|McDonaldson
|[[Fabrizio De Angelis]]
|
|-
|''[[Year of the Gun (film)|Year of the Gun]]''
|Lou
|[[John Frankenheimer]]
|
|-
| 1992
|''[[Acquitted for Having Committed the Deed]]''
|Hartman
|Alberto Sordi
|
|-
|1993
|''[[La Naissance de l'amour]]''
|Paul
|[[Philippe Garrel]]
|
|-
|1996
|''[[Irma Vep]]''
|José Mirano
|[[Olivier Assayas]]
|
|-
|1998
|''[[Louise (Take 2)]]''
|Louise's Father
|{{Interlanguage link multi|Siegfried (director)|fr|3=Siegfried (réalisateur)|lt=Siegfried}}
|
|-
|2001
|''[[Clément (film)|Clément]]''
|François
|[[Emmanuelle Bercot]]
|
|-
|rowspan=2|2007
|''[[Heartbeat Detector]]''
|Arie Neumann
|[[Nicolas Klotz]]
|
|-
|''[[Medea Miracle]]''
|Creo
|{{Interlanguage link multi|Tonino De Bernardi|it}}
|
|-
|2012
|''[[La Lapidation de Saint Etienne]]''
|Étienne
|{{Interlanguage link multi|Pere Vilà Barceló|ca}}
|
|-
|2013
|''[[Gare du Nord (film)|Gare du Nord]]''
|Ali
|Claire Simon
|
|-
|2013
|''[[The Nun (2013 film)|The Nun]]''
|Baron de Lasson
|[[Guillaume Nicloux]]
|
|}

== References ==

===Footnotes===
{{reflist}}

===Sources===
{{Refbegin}}
* {{cite book | last= Curti | first= Roberto | title= Italian Gothic Horror Films, 1980-1989 |publisher= McFarland |year= 2019 |isbn= 1476672431|ref=harv}}
{{Refend}}

==External links==
{{commons category}}
*{{IMDb name|id=0144589|name=Lou Castel}}
*Lou Castel, "[http://contramundum.net/wp-content/uploads/2012/05/18.0—Castel-State_Things—H-8.1.14.pdf My 'State of Things]{{dead link|date=January 2018 |bot=InternetArchiveBot |fix-attempted=yes }}'," tr. by Rainer J. Hanshe, ''Hyperion: On the Future of Aesthetics'' (spring 2014) 278–280.
*Lou Castel, "[http://contramundum.net/wp-content/uploads/2012/05/19.0—Castel-Shooting_St_Stephen_H-8.1.14.pdf Before / After the filming of The Stoning of St. Stephen]{{dead link|date=January 2018 |bot=InternetArchiveBot |fix-attempted=yes }}," tr. by Rainer J. Hanshe, ''Hyperion: On the Future of Aesthetics'' (spring 2014) 281–288.

{{Authority control}}

{{DEFAULTSORT:Castel, Lou}}
[[Category:1943 births]]
[[Category:Living people]]
[[Category:Centro Sperimentale di Cinematografia alumni]]
[[Category:20th-century Swedish male actors]]
[[Category:21st-century Swedish male actors]]
[[Category:Swedish male film actors]]
[[Category:Swedish expatriates in Italy]]
[[Category:Swedish expatriates in France]]
[[Category:Italian communists]]

A Short Film About Killing

2020-12-14T11:28:31Z

Invulgo: /* Plot */ The sister referred is not a baby but a child as evidened by the first communion photo that Jacek carries with him.

{{Infobox film
| name = A Short Film About Killing
| image = ShortFilmAboutKilling.jpg
| caption = Theatrical release poster
| director = [[Krzysztof Kieślowski]]
| producer = Ryszard Chutkowski
| writer = {{Plainlist|
* Krzysztof Kieślowski
* [[Krzysztof Piesiewicz]]
}}
| starring = {{Plainlist|
* [[Mirosław Baka]]
* [[Krzysztof Globisz]]
* Jan Tesarz
}}
| music = [[Zbigniew Preisner]]
| cinematography = [[Sławomir Idziak]]
| editing = Ewa Smal
| studio = [[Zespoły Filmowe (film studio)|Zespoły Filmowe]] "Tor"
| distributor = [[Film Polski]]
| released = {{Film date|1988|03|11|Poland|df=y}}
| runtime = 84 minutes
| country = Poland
| language = Polish
| budget =
| gross =
}}
'''''A Short Film About Killing''''' ({{lang-pl|Krótki film o zabijaniu}}) is a 1988 [[drama]] film directed by [[Krzysztof Kieślowski]] and starring [[Mirosław Baka]], [[Krzysztof Globisz]], and Jan Tesarz. Written by Krzysztof Kieślowski and [[Krzysztof Piesiewicz]], the film was expanded from ''[[Dekalog: Five]]'' of the Polish television series ''[[Dekalog]]''. Set in [[Warsaw]], [[Poland]], the film compares the senseless, violent murder of an individual to the cold, calculated execution by the state.<ref name="imdb">{{cite web|title=A Short Film About Killing |website=Internet Movie Database |url=https://www.imdb.com/title/tt0095468/ |access-date=14 February 2012}}</ref> ''A Short Film About Killing'' won both the [[Jury Prize]] and the [[FIPRESCI Prize]] at the [[1988 Cannes Film Festival]],<ref name="cannes">{{cite web|title=A Short Film About Killing |publisher=Festival de Cannes |url=http://www.festival-cannes.com/en/archives/ficheFilm/id/329/year/1988.html |access-date=10 February 2012}}</ref> as well as the [[European Film Award]] for Best Film.<ref name="imdbawards">{{cite web|title=Awards for A Short Film About Killing |website=Internet Movie Database |url=https://www.imdb.com/title/tt0095468/awards |access-date=14 February 2012}}</ref>

==Plot==
Waldemar Rekowski (Jan Tesarz) is a middle-aged [[taxicab]] driver in [[Warsaw]] who enjoys his profession and the freedom it affords. His concern for turning a profit leads him to ignore some potential fares in favor of others. An overweight and crude man, Waldemar also enjoys staring at young women. Jacek Łazar ([[Mirosław Baka]]) is a 21-year-old [[Vagabond (person)|drifter]] who recently arrived in Warsaw from the countryside and is now aimlessly wandering the streets of the city. He seems to take pleasure in causing other people's misfortunes: he throws a stranger into the urinals of a public toilet after being approached sexually; he drops a large stone from a bridge onto a passing vehicle causing an accident; and he scares away pigeons to spite an old lady who was feeding them. Piotr Balicki ([[Krzysztof Globisz]]) is a young and idealistic lawyer who has just passed the bar exam. He takes his wife to a café where they discuss their future. At the same café, Jacek is sitting at a table handling a length of rope and a stick which he keeps in his bag. The rope and stick appear to be a weapon. He puts away the rope and stick when he spots two girls playing at the other side of the window and he engages in a game with them.

One of the most crucial moments that relates to the encounter with the young girls is Jacek's sister's death. He goes to a photographer to have her first communion picture blown up despite its wear and tear damage. This is the focal point of Jacek's trauma, which is brought up during his conversation with the young lawyer. It may also be construed as a redeeming value to his character/persona, as he seems to be deeply affected by his little sister's death, as well as his mother's suffering. Jacek holds on to his sister's memory and the love for his mother by asking Piotr to retrieve the blow-up of his sister's picture from the photographer, as he gives Piotr the receipt, and give the picture to his mother, so she has something to hold on to after having two of her children killed.

Meanwhile, Waldemar has been driving his taxicab around the city looking for a fare. He stops near the café just as Jacek approaches and enters the cab. He asks to be driven to a remote part of the city near the countryside and insists the driver take a longer and more remote route. At their destination, Jacek tries to kill Waldemar with the rope, but stops and hides when people approach. The driver is still breathing and tries unsuccessfully to remove the rope from his neck. Jacek then completes his gruesome task by repeatedly smashing the barely conscious taxicab driver over the head with a large rock. Jacek then takes the taxicab to the river and dumps the body. When a children's song comes on the radio, he gets upset, rips out the radio, and discards it. He drives the car to a grocery store where he talks to a girl who jumps into the car. She notices a clown's head hanging from the mirror and asks Jacek where he got the car. He suggests that they could go away together, but she keeps asking where the car comes from as a taxi driver with the same car was trying to flirt with her earlier the same day.

Sometime later, Jacek is caught and imprisoned. He is interviewed by his [[criminal defense lawyer]], Piotr, for whom this is his first case after finishing his legal studies. Piotr has little chance of winning the case against Jacek because of the strong [[evidence (law)|evidence]] against his client. In spite of Piotr's efforts, Jacek is found guilty and [[Capital punishment|sentenced to death]] by [[hanging]]. Piotr approaches a judge afterwards asking if he could've done more to save his client's life. The judge assures him that Piotr gave the best argument against the death penalty he's heard in years, but that the legal outcome is correct.

On the appointed day, the [[executioner]] arrives at the jail and prepares for the hanging. Piotr is at the prison to attend the execution, and an official congratulates him on having just become a father. In the moments before his execution, Jacek reveals to Piotr that his younger sister was killed by a [[tractor]] driven by his drunken friend, and that he was drinking with him; he says he never fully recovered from the tragic episode. Jacek then requests that he be given the final space in his family's grave which was reserved for his mother—that he be buried next to his sister and his father. The warden repeatedly asks if they are finished talking; Piotr defiantly says he will never be finished. Jacek makes some petty last requests to his lawyer. They conclude things would've turned out differently if the girl had not tragically died.

Jacek is then taken from his cell and marched to the execution chamber by several prison guards. The confirmation of his sentence is read to him as well as the decision to deny clemency. He is given last rites by a priest, and offered a final cigarette by the warden. When he requests to have one without filter instead, the executioner steps forward, lights one of his cigarettes and puts it into Jacek's mouth. Jacek takes a few puffs before it is stubbed out. Just before he is hanged, he breaks free from his guards and begins to yell uncontrollably before his hands are shackled and he is quickly hanged with ruthless efficiency. Afterwards, Piotr drives to an empty field where he sobs.

==Cast==
* [[Mirosław Baka]] as Jacek Lazar
* [[Krzysztof Globisz]] as Piotr Balicki (Advocate)
* Jan Tesarz as Waldemar Rekowski (Taxi driver)
* [[Zbigniew Zapasiewicz]] as Committee Chairman
* Barbara Dziekan as Cashier
* Aleksander Bednarz as The Executioner
* Jerzy Zass as Police Commander
* Zdzisław Tobiasz as Judge
* [[Artur Barciś]] as Young Man
* [[Krystyna Janda]] as Dorota
* [[Olgierd Łukaszewicz]] as Andrzej
* Peter Falchi as British Motorist
* Elzbieta Helman as Beatka
* [[Maciej Maciejewski]] as Prosecutor<ref name="imdbcast">{{cite web|title=Full cast and crew for A Short Film About Killing |website=Internet Movie Database |url=https://www.imdb.com/title/tt0095468/fullcredits#cast |access-date=14 February 2012}}</ref>

==Background==
The film shows a very bleak Poland near the end of the Communist era. This is greatly enhanced by the strong use of colour filters. The print appears to have an effect similar to [[sepia tone]] or [[bleach bypass]]—although it is a colour picture, the photography combined with grey locations provides an effect similar to monochrome.

''A Short Film About Killing'' was released in the same year that the death penalty was suspended in Poland. In 1988 the country carried out just a single execution, with 6 condemned prisoners being hanged in 1987. The portrayal of the execution method and procedure is mostly accurate, however in reality the date of executions were a surprise to the prisoner—the condemned man would simply be led into a room to discover it was the execution chamber. After the early years of Communist repression, executions were quite rare and invariably for murder; from 1969 a total of 183 men were hanged and no women.

==Themes==
;Social class
In her article about the film, Janina Falkowska describes the brutality of the effects [[Social class|class societies]] have on the lower class, emphasizing on the "hopelessness" of the latter and false hope of the former.<ref name="Falkowska">Falkowska, J. (Winter 1995). "'The Political' in the Films of Andrzej Wajda and Krzysztof Kieslowski" in ''Cinema Journal''. 34 (2), pp. 37-50.</ref>

;Law and politics
Falkowska also talks about the [[Justice system|law]] as a personified entity—capable of being both just and unjust, responsible for saving and ruining lives. Its integrity is thus significant to the fate of the protagonist.<ref name="Falkowska" />

;Death and mutiny

Cine-literacy author Charles V. Eidsvik suggests there is a "presence of senseless malice in the film", a notion reiterated in the forms of death and mutiny.<ref>Eidsvik, Charles (Fall 1990) "Kieslowski's Short Films" in ''Film Quarterly''. Found here: http://www.petey.com/kk/docs/shorts1.txt</ref>

==Style==
Dehumanizing filters were used to distort the images of Warsaw, creating a raw, unattractive image. Kieślowski credits his cinematographer, Slawomir Idziak, for this deliberate visual unattractiveness within the film, stating: "I sense that the world is becoming more and more ugly. . . . I wanted to dirty this world. . . . We used green filters that give this strange effect, allowing us to mask all that isn’t essential to the image".<ref>Haltof, Marek (2004) the cinema of Krzysztof Kieślowski: variations on destiny and chance (London: Wallflower Press). Pp. 92-93</ref> When Kieslowski first showed Idziak the screenplay, he commented, saying, "I can’t even read this! It disgusts me," and then finally conceded, "I’ll shoot it only on the condition that you let me do it green and use all my filters, with which I’ll darken the image." Kieslowski was not pleased, but he accepted the ultimatum, telling Idziak, "if you want to make green shit, it’s your affair." The cinematographer concluded, "That’s how the graphic concept came about which Cahiers Du Cinema wrote that it was the most originally shot movie in the Cannes Film Festival."<ref>Insdorf, Annette (1999). ''Double Lives, Second Chances: The Cinema of Krzysztof Kieślowski''. New York: Hyperion, p. 95.</ref> Idziak also used a hand held camera when filming; this gave an added raw feel to the film as it follows the daily routines of the film's protagonist.

==Production==

===Filming locations===
The film was shot on location in [[Warsaw]] and [[Siedlce]]. Like the gloomy events portrayed in the film, the capital city of [[Warsaw]] is depicted as a repellent, depressing place: grey, brutal and peopled by alienated characters. Several areas of the city were used:<ref name="Haltof, Marek 2004">Haltof, Marek (2004) the cinema of Krzysztof Kieślowski: variations on destiny and chance (London: Wallflower Press)</ref>

* [[Krakowskie Przedmieście]], Sródmiescie, Warsaw, Mazowieckie, Poland
* Old Town, [[Śródmieście, Warsaw]], Mazowieckie, Poland
* [[Siedlce]], Mazowieckie, Poland
* [[Warsaw]], Mazowieckie, Poland<ref name="imdblocations">{{cite web|title=Filming locations for A Short Film About Killing |website=Internet Movie Database |url=https://www.imdb.com/title/tt0095468/locations |access-date=14 February 2012}}</ref>

==Reception==

===Critical response===
The Polish premiere coincided with a heated debate in Poland about capital punishment. Although the film's [[diegesis]] does not directly address political events, it is unanimously interpreted as a political statement. The Polish audience did not like the parallel alluded to between a murder committed by an individual and a murder committed by the state. Despite this controversy, the majority of critics praised Kieslowski's film and it was nominated for and won a multitude of awards.<ref>Falkowska, J. (winter, 1995). "The Political in the Films of Andrzej Wajda and Krzysztof Kieslowski. Cinema journal . 34 (2), pp.37-50.</ref>

''[[Sight & Sound]]'' magazine conducts a poll of film directors every ten years to find out what they consider the ten greatest films of all time. In 2012, [[Cyrus Frisch]] voted for ''A Short Film About Killing''. Frisch commented: "In Poland, this film was instrumental in the abolition of the death penalty."<ref>[https://web.archive.org/web/20120827010134/http://explore.bfi.org.uk/sightandsoundpolls/2012/voter/920 BFI]</ref> The film is among 21 digitally restored classic Polish films chosen for ''Martin Scorsese Presents: Masterpieces of Polish Cinema.''<ref>[http://www.mspresents.com/ Martin Scorsese Presents: Masterpieces of Polish Cinema]</ref>

===Awards and nominations===
* 1988 [[Cannes Film Festival]] FIPRESCI Prize (Krzysztof Kieślowski) '''Won'''
* 1988 Cannes Film Festival Jury Prize (Krzysztof Kieślowski) '''Won'''
* 1988 Cannes Film Festival Nomination for the Palme d'Or (Krzysztof Kieślowski)
* 1988 [[European Film Award]] for Best Film (Krzysztof Kieślowski) '''Won'''
* 1988 [[Polish Film Festival]] Golden Lion Award (Krzysztof Kieślowski) '''Won'''
* 1990 Bodil Award for Best European Film (Krzysztof Kieślowski) '''Won'''
* 1990 French Syndicate of Cinema Critics Award for Best Foreign Film (Krzysztof Kieślowski) '''Won'''
* 1990 Robert Festival Award for Best Foreign Film (Krzysztof Kieślowski) '''Won'''<ref name="imdbawards"/>

==Differences with ''Dekalog: Five''==
According to the funding deal that Kieślowski had with TV Poland to make ''[[Dekalog]]'', two of the episodes would be expanded into films. Kieslowski himself selected ''[[Dekalog: Five]]'', leaving the second for the Polish ministry of culture. The Ministry selected ''[[Dekalog: Six]]'' and funded both productions.<ref name="Haltof, Marek 2004"/>

The cinematic release of ''[[Dekalog: Five]]'': A Short film about killing, premiered in Polish cinemas in March 1988.

Although the main plot in both works is the same, ''Dekalog: Five'' has a different order in editing and makes more use of [[voice-over]], whereas the film starts differently and gives a more prominent role to Piotr, the lawyer. ''Dekalog: Five'' suddenly jumps from the killing scene to jail and there is no connection or explanation on how Jacek got arrested. A few scenes and lines of dialogue do not feature in ''Dekalog: Five'', to keep it within the time limitations for TV as intended.

==See also==
*[[Capital punishment in Poland]]

==References==
{{Reflist}}

==External links==
* {{IMDb title|0095468|A Short Film About Killing}}

{{Krzysztof Kieślowski}}
{{Cannes Film Festival Jury Prize}}
{{European Film Award for Best Film}}

{{DEFAULTSORT:Short Film About Killing, A}}
[[Category:1988 films]]
[[Category:1988 crime drama films]]
[[Category:Polish films]]
[[Category:Polish crime drama films]]
[[Category:Polish-language films]]
[[Category:Films about capital punishment]]
[[Category:European Film Awards winners (films)]]
[[Category:Films set in Poland]]
[[Category:Films set in Warsaw]]
[[Category:Films scored by Zbigniew Preisner]]
[[Category:Capital punishment in Poland]]
[[Category:Films directed by Krzysztof Kieślowski]]
[[Category:Films with screenplays by Krzysztof Piesiewicz]]
[[Category:Films with screenplays by Krzysztof Kieślowski]]
[[Category:Films based on television series]]