Peer Raben Movies

Gods of the Plague (Gotter der Pest) is one of several German films directed by Rainer Werner Fassbinder under his pseudonym of Franz Walsch. That's Fassbinder, however, playing the small role of a buyer of pornography. The main story involves a pair of two-bit hoods who spend most of the film one-upping each other with a brace of scheming females. Their dreary life of crime comes to a spectacular head in a shoot-out at a supermarket. ~ Hal Erickson, Rovi

Jorgos (Rainer Werner Fassbinder) is a Greek immigrant in Germany who encounters the intolerance of the locals against foreign workers. Open hostility turns to violence when he is beaten up by the authoritarian thugs after dating a German woman. Male and female nudity along with hetero and homosexual sex scenes are shown in this searing indictment against prejudice and fascism. This feature took the Prize of International Film Critics at the Mannheim Film Festival in 1969. ~ Dan Pavlides, Rovi

A technical designer enjoys a comfortable life with his wife and child. He has the approval of his boss and is in good health except for smoking too much according to his doctor. His wife is visited by a girlfriend one Sunday afternoon. The man is bored watching television and grabs a chandelier and kills the conversing women and his child. In a chilling display of nonchalance, he contemplates his own death by hanging in this disturbing feature. This film was the fourth for director Rainer Werner Fassbinder. ~ Dan Pavlides, Rovi

In his 36-year life, director Rainer Werner Fassbinder made some 40 films. He is perhaps best known to American audiences for his 1978 period drama, The Marriage of Maria Braun. A theme he examined repeatedly in his films was the unreasonable meanness of people, which he shows in a stark, relentless fashion. This early film, Whity, is set in the American Old West, with overtones of the antebellum South. The main character, Whity (Günther Kaufmann), is a black servant who is sorely abused at every turn. Eventually, he has had all he can take; his manner of taking vengeance is what this film is about. ~ Clarke Fountain, Rovi

This dark horror film from director Ulli Lommel was based on the real-life crimes of Fritz Haarman (Kurt Raab), the so-called "Vampire of Dusseldorf" who murdered over 25 young boys, drank their blood, and sold their flesh as black-market meat. Several German films had depicted Haarman's murderous exploits, most notably Fritz Lang's classic M (1931), but Lommel's version is far more graphic and horrifying. Produced by filmmaker Rainer Werner Fassbinder, who also appears, the film revels in pseudo-Expressionistic imagery which sears itself into the viewer's mind. Raab's performance is reminiscent of both Peter Lorre in M and Max Schreck in the vampire classic Nosferatu (1922), but is unforgettable in its own right. A deeply disturbing cinematic poem about the face of true evil, this overlooked classic has developed a cult following, but is not recommended for sensitive viewers. ~ Robert Firsching, Rovi

Faustrecht der Freiheit (Fox and His Friends) was one of the many films in the short, but prolific, career of German auteur Rainer Werner Fassbinder. Fassbinder plays Franz Biberkopf, a financially poor gay man who performs in a traveling circus as Fox the Talking Head. One day, he lucks into winning half a million marks in a lottery. This attracts the attention of numerous swindlers, including Eugen (Peter Chatel), who becomes Fox's lover, gets Fox to spend the money on Eugen, and then dumps Fox mercilessly once the money is gone. Unable to come to terms with how he has been used, and miserable at being in the same place he was before he won the money, Fox commits suicide. The cast is rounded out by El Hedi ben Salem and Brigitte Mira, the stars of Fassbinder's celebrated Ali: Fear Eats the Soul. ~ Perry Seibert, Rovi

Mother Kusters (Brigette Kira) is the wife of a factory worker who goes beserk one day, killing himself and the boss' son. Mother finds herself a media celebrity, which only serves to make herself and her late husband look like idiots. Later, Mother is "adopted" by a Communist couple who wish to exploit her husband's "act of defiance" for their own purposes. Finally left alone, Mother Kusters decides to stop living off her husband's notoriety and turn into a human being again. Director Rainer Werner Fassbinder used the 1929 film Mother Krausen's Journey to Happiness as a springboard for his own mysoginistic slant on opportunism. The film hit a bit too close to home in his own country, where it was banned from entering the Berlin Film Festival. ~ Hal Erickson, Rovi

Rainer Werner Fassbinder directs this bleak morality tale about a young Bavarian bricklayer who longs for love. Raised in a rigid, remote household and married to an emotionally distant woman, everyone in his life seems indifferent to his suffering. His life takes a further unfortunate turn when, while blind drunk, he accidentally kills a bartender, thinking it was his father. This film was made for German television and not released abroad until 1994. ~ Jonathan Crow, Rovi

This fast-paced black comedy by wunderkind director Rainer Werner Fassbinder follows the frantic efforts of a starving and confused writer, Walter Kranz (Kurt Raab) to beg, borrow or steal enough money to survive on, and at the same time make some sense of his confusing life. Unable to write enough to keep his publisher's royalty advances coming, he seeks out a woman he imagines is a prostitute and interviews her for material. He is also inspired to utter some poetry, which his brassy, outspoken wife identifies as coming from the famous homosexuality-advocating mystical German poet, Stefan George. This inspires Walter to take a closer look at the "gay scene," and he quickly becomes a sort of celebrity there. ~ Clarke Fountain, Rovi

An out of work architect and a recently discharged military man meet at a critical moment in their lives. Each of them has been deprived of an occupation which gave meaning to their existence, and is left, instead, with a $15,000 severance check. Neither one handles the situation at all well. Bert, the architect, is thinking about giving up his apartment and studio, and tries his hand at an elaborate con-game. Thomas, a former military air-traffic controller, must take an elaborate series of exams before he can resume his profession as a civilian. Their girlfriends are not a steadying factor in their lives. When circumstances get in the way of their plans, they soon have only their friendship to rely on. ~ Clarke Fountain, Rovi

Having made as many films as he had years, at 31, Rainer Werner Fassbinder essayed a slightly different approach for his 32nd film, Despair. Here, he uses a witty screenplay written by the well-known playwright Tom Stoppard, based on a novel by Vladimir Nabokov. Furthermore, the entire film, set in 1930s Germany, is in English. It received mixed reviews, if only because it is so unlike the director's other works. In the story, a Russian owner of a German chocolate-factory, whose business and marriage are both on the rocks, fantasizes about leaving his current life, and living another one. Indeed, he has delusions that he is somehow outside himself, watching himself live his life. So strong is his desire to alter his life that when he encounters a tramp while on a brief business trip, he imagines that the man looks exactly like him, decides to exchange identities with the tramp, and murders him. ~ Clarke Fountain, Rovi

The film that elevated German director Rainer Werner Fassbinder from domestic approbation to international acclaim, The Marriage of Maria Braun stars the director's on-and-off favorite actress Hanna Schygulla in the title role. During the allied siege of Germany in the last year of the war, Maria's new husband (Klaus Löwitsch) is shipped off to the Russian front before the marriage is consummated. As she struggles to survive wartime deprivations, Maria haunts the local train station, seeking out information concerning her husband. When it appears that she's a widow, Maria takes a job as a barmaid and befriends a black soldier (George Byrd) from the occupying allied troops, who sees to it that Maria's family receives vital food and supplies. The opportunistic Maria eventually takes a job with a wealthy importer (Ivan Desny), building herself up to a position of power and indispensability. Though she sleeps with her employer, Maria still carries a torch for her husband. ~ Hal Erickson, Rovi