[!@#$%!]

Originally Posted by demonrail666

He seemed obsessed with control, power and, while I do think he was making broader social points with that, it also seemed to reflect aspects of his personal life and his relations with his inner circle. His films are a bit like Warhol's screen tests in that respect, but whereas Warhol set up a one-on-one power relationship between the camera and the sitter, Fassbinder played it out through a narrative (closer in that sense to some of Warhol's Paul Morrissey films). You could say Hanna Schygulla, Margit Carstenson, etc., were his equivalent 'superstars'. Had Fassbinder himself not made such a thing of his interest in Sirk, I think critics might've more readily connected him with Warhol. Conceptually anyway, a film like Petra Von Kant could've easily come out of the Factory.

i've never been able to stay awake through any warhol or morrissey films. and margit casterson in petra von kant, okay, she's got the iconic presence etc, but that movie is about much more than her being an icon-- it's about an icon getting old! and yes, there's an intimate/family/inner circle aspect to fassbinder's films like there is to many artists (i remember chinese roulette blowing my mind ages ago), but there's also very much a social aspect too. a lot of directors work with the same casts over and over (since you said warhol i'll say waters). but warhol would never had made something like mother küster's trip to heaven or the marriage of maria braun

anyway, this is superfun, and i'm almost forgetting to reply to the peckinpah thing. i will soon.

btw, i did put a sirk movie in my queue. since i'm obsessed with chronological developments i'm starting with "la habanera" in a kino edition. i'll get to the 40s and 50s in due time...