Peter Berling Movies

A made-on-HD video documentary about fascinating European filmmaker Rainer Werner Fassbinder, directed by the equally notable Rosa von Prauheim, this feature attempts to shed light on his rocky life in a tell-all fashion. The film interviews several artists who worked with Fassbinder, dating back to the mid-'60s, when the director was invited to participate in the experimental Action Theatre group, which he quickly seized control of. He was known to have uncontrollable mood swings that could alienate others without warning, to take out aggressions on his cast and crew, and to demand sexual favors and money whenever required. The movie also focuses on the women in his life, especially actress Hanna Schygulla, who made quite a career out of her work for the tumultuous director. Known widely as a gay man, Fassbinder still required the attention of females, whom he often proposed to and turned to for comfort. Among the figures that the documentary interviews are actress Jeanne Moreau, whom Fassbinder cast in his final film Querelle, famous cinematographer Michael Ballhaus, and producer Peter Berling, the latter of whom doesn't recount the happier times with the troubled but brilliant director, who he died of an overdose in 1982.
~ Jason Clark, All Movie Guide

This European epic is seven hours long. It is adapted from a novel by Laszlo Karsznahorkai and reflects the obsession of director Bela Tarr who began the film seven years ago. It took two full years to film this opus. The story is presented through a series of chapters of varying lengths with titles like "The News That They are Coming," "We, the Resurrected," "The Freeze," "Only Problems and Work." and finally "The Circle Is Completed." The enormously complex saga is centered in an abandoned farm machinery plant upon a Hungarian plain. There live a small band of hobos including three couples, a doctor with a drinking problem. All of them want to leave and they will do anything they can to do it. A set series of events occurs, but the story presents those events from each of the different character's viewpoints. The film ends on an ironic note. ~ Sandra Brennan, All Movie Guide

There have been quite a few spoofs of Hollywood, and a similar number of spoofs about filmmaking in general. This is one of the few spoofs which is about film festivals and, in particular, the Taormina festival in Italy. It was shot during the 1988 festival using many of the actual participants in the festival as actors and leading characters. When word of the film went round, many more wanted to participate than was originally planned, and further scenes were shot during the next year's festival. It was finally shown at the 1990 festival. Those who are not playing themselves are portraying characters who are easily recognized by those attending the festival, though these references are probably impossible for non-participants to understand. Nonetheless, the scenes showing the chaos and energetic self-promotion behind the scenes serve to leaven the heavy seriousness with which festivals promote themselves. The frequently leaden, self-important themes of many festival films are not exempt from barbs in this comedy, any more than the are the windbag philosophical utterances of the unhappy critics who must watch them. Reviewers of this film expressed considerable pleasure in observing the gusto with which the participants made fun of themselves in this unusual festival offering. ~ Clarke Fountain, All Movie Guide

Director Werner Herzog, as usual, has spared no one -- especially himself -- in bringing this story of 19th-century African slave trading to the screen. Klaus Kinski plays an enterprising young Brazilian who after impregnating the three daughters of his plantation-owning employer, is sent to West Africa to round up slaves. Kinski goes to great lengths to befriend the very people he hopes to enslave and he eventually manages to overthrow a mad monarch and set himself up as king. As the years pass, Kinski grows wealthy -- and careless. However, despite enslaving the tribe, he does show some signs of humanitarian benevolence. This fifth and final collaboration between director Herzog and Kinski is considered the weakest of the five features. Though the title translates literally as Green Cobra, Cobra Verde was released in the U.S. as Slave Coast. ~ Hal Erickson, All Movie Guide

Willem Dafoe plays Jesus Christ in this extraordinarily controversial adaptation of Nikos Kazantzaki's novel. The film depicts a sometimes reluctant, self-doubting Jesus, gradually coming to accept His divinity and the inexorability of His ultimate fate. The much-maligned sex scene with Mary Magdalene (Barbara Hershey) occurs as an hallucination experienced by Jesus as he suffers on the cross. This particular sequence was what infuriated the film's most rabid critics, but in fact it is just one of many iconoclastic musings to be found in the film and its source novel. Equally volatile are the intimations that, as a carpenter, Jesus indifferently shaped the crucifixes for other condemned prisoners long before his own fate was sealed, and that Judas (Harvey Keitel) was literally manipulated into betrayal by a Christ whose preoccuption with his own destiny compelled him to "use" others. None of these departures from the normal interpretation of the scriptures are offered as any more than theory; as such, it was accepted as food for thought by the more open-minded clerics and Biblical scholars who recommended the film. ~ Hal Erickson, All Movie Guide

Based on a Texas Ranger comic-book hero who first rode into sight in 1948, this routine western is an Italian version of the adventures of Tex Willer (Giuliano Gemma), his sidekick Kit Carson (William Berger), and his Native American buddy Tiger Jack (Carlo Mucari). Predictably, Tiger Jack is nearly mute, and Tex wears a white cowboy hat, just to make clear which side he is on. A series of adventures take the trio into a confrontation with the Yaqui nation, intent on (finally) avenging the near-annihilation of their ancestors. To that end, the Yaquis rob a train, join forces with other Native Americans, and manage to concoct a secret weapon that is capable of immediately transforming their enemies into mummies. The "Lord of the Deep" is an alchemist parked at the bottom of a volcano, who creates a glowing green mummification rock (shades of kryptonite!).
~ Eleanor Mannikka, All Movie Guide

Originally Die Sehnsucht de Veronika Voss, this Rainer Werner Fassbinder spin on Sunset Boulevard stars Rosel Zech as film actress Veronika Voss. Once the toast of Germany, Veronika had allegedly been an intimate of Joseph Gobbels. But the Third Reich is dead...and Veronika may as well be. Playing to an increasingly diminishing fan following, Veronika turns to drugs to cushion her against the cruelties of life. Her self-destruction is accelerated by her "Doctor Feelgood" Annemaire Duringer, who plys Veronika with morphine in order to gain control of the actress's money and property. Well-meaning sportswriter Hilmar Thate tries to save Veronika from herself, sacrificing his own personal happiness -- and the life of his girlfriend Cornelia Froeboess -- in the process. Allegedly an amalgam of several true stories, Veronika Voss is the last of Fassbinder's "postwar trilogy" (the first two were The Marriage of Maria Braun and Lola). ~ Hal Erickson, All Movie Guide

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, All Movie Guide

The drawbacks and difficulties of military life are explored in this film. Paolo Passeri (Michele Placido) is a college graduate, somewhat spoiled, somewhat effete, who finds himself in an officer training program under the stern martinet, Captain Asciutto (Franco Nero). He gradually becomes acclimated to the military mind-set, and when the Captain's wife (Miou-Miou) decides to take a romantic interest in him, he does not report her dangerous peculiarities to anyone. ~ Clarke Fountain, All Movie Guide

In this softcore sex-comedy, a young man achieves sexual maturity under the tutelage of older women while on vacation in Switzerland and Italy. ~ Clarke Fountain, All Movie Guide

The most famed and well-regarded collaboration between New German Cinema director Werner Herzog and his frequent leading man, Klaus Kinski, this epic historical drama was legendary for the arduousness of its on-location filming and the convincing zealous obsession employed by Kinski in playing the title role. Exhausted and near to admitting failure in its quest for riches, the 1650-51 expedition of Spanish conquistador Gonzalo Pizarro (Alejandro Repulles) bogs down in the impenetrable jungles of Peru. As a last-ditch effort to locate treasure, Pizarro orders a party to scout ahead for signs of El Dorado, the fabled seven cities of gold. In command are a trio of nobles, Pedro de Ursua (Ruy Guerra), Fernando de Guzman (Peter Berling), and Lope de Aguirre (Kinski). Traveling by river raft, the explorers are besieged by hostile natives, disease, starvation and treacherous waters. Crazed with greed and mad with power, Aguirre takes over the enterprise, slaughtering any that oppose him. Nature and Aguirre's own unquenchable thirst for glory ultimately render him insane, in charge of nothing but a raft of corpses and chattering monkeys. Aguirre, der Zorn Gottes (1973) was based on the real-life journals of a priest, Brother Gaspar de Carvajal (played in the film by Del Negro), who accompanied Pizarro on his ill-fated mission. ~ Karl Williams, All Movie Guide