The Explanation
(for those who require one)

And, of course, that is what all of this is -- all of this: the one song, ever changing, ever reincarnated, that speaks somehow from and to and for that which is ineffable within us and without us, that is both prayer and deliverance, folly and wisdom, that inspires us to dance or smile or simply to go on, senselessly, incomprehensibly, beatifically, in the face of mortality and the truth that our lives are more ill-writ, ill-rhymed and fleeting than any song, except perhaps those songs -- that song, endlesly reincarnated -- born of that truth, be it the moon and June of that truth, or the wordless blue moan, or the rotgut or the elegant poetry of it. That nameless black-hulled ship of Ulysses, that long black train, that Terraplane, that mystery train, that Rocket '88', that Buick 6 -- same journey, same miracle, same end and endlessness."
-- Nick Tosches, Where Dead Voices Gather

Seminal Image #795

Berlin Alexanderplatz
(Rainer Werner Fassbinder; 1980)

1 comment :

katia said...

Rainer Werner Fassbinder’s “Berlin Alexanderplatz” Among numerous semantic whirlpools to which Fassbinder’s film exposes the viewers – the relationship between Franz and Reinhold is the most intriguing and intellectually challenging, even more than Franz’ relationship with Eva, Mieze, Lina or Meck, his resistance to participate in workers’ politico-economic struggle, his “political conservatism”, his “idealism” or history of his “moral” struggle with himself, and many other topics, issues and enigmas. The film becomes more and more relevant to the situation in US in the beginning of 21st century when mass pauperization of population (becoming less and less liberally educated) helps to reduce psychological life to basic archetypes of feelings and thinking. Fassbinder demonstrates that these “Biblical” archetypes of perception of the world and behavior are still very far from being understood as they form and express themselves in an atmosphere of psycho-cultural fascization characteristic of the 1920’s when the events of “Berlin Alexanderplatz” takes place. Please, visit to read the article about this film (with analysis of shots), and also essays about other Fassbinder’s films, and also films by Godard, Bergman, Resnais, Bunuel, Bresson, Kurosawa, Antonioni, Pasolini, Cavani, Bertolucci, Alain Tanner and Moshe Mizrahi.
By Victor Enyutin