Reality eats away at art Fassbinder’s main role remained unreleased for a long time. The beginning and end of this film are legendary - the RVF's smoking pass through the field to the kraut-read (exactly repeated by the beginning of Rudolf Tome's "Supergirl," which goes to meet, as if behind the scenes they will meet) and the eerie finale in the contempt of woodcutters, foreshadowing the "Fist Right of Freedom." And between these peaks is Brecht’s play about the megalomania of the poet, without which there would be no poems or girlfriends (played by Margaret von Trotta and Rosa von Praunheim’s wife). This underside of the creator, the cost of talent makes him push around ordinary people and burrow up to an armed murder, which turns everything around and covers with darkness. The charm of the limitless is dispelled by the crime that has realized the volume outside, and theatricality and intention save Volker Schlöndorf from the rational transmission of the drama, in which he still strives to slide like in the film “Michael Kohlhaas – Rebel”, whose English version is longer than the German one by two minutes.
8 out of 10