Another of Fassbinder's 'man's cruelty to man' films, Mother Kusters features the wonderful Bridgit Mira in the title role. She is superb, delivering a wonderfully restrained and poignant performance. Other Fassbinder regulars also appear including Karl Heinz-Bohm (in one of his trademarked icy-sophisticate roles), Margit Carstensen (excellent also as another of Fassbinder's self-absorbed characters) and Ingird Caven (oozing all over the screen brilliantly as a Dietrich-esque singer). All of the Fassbinder films I have seen contain strong female roles, and this movie is certainly no exception. The relationship here between Mira and Caven, as mother and daughter, is particularly interesting, yet not really explored sufficiently.
WARNING: PLOT SPOILERS
The early part of this story deals with the death of Frau Kusters' husband, and the initial repercussions. At first it seems that the movie is to be an indictment of the press. Reporters and photographers immediately swoop-down onto the Kusters family, invading their privacy and mourning, in search of a fantastic story about a homicidal maniac. They sensationalize everything the family tells them about Hermann Kusters, and do indeed print an inaccurate, exaggerated portrait of this simple family man.
But the exploitation of Mother Kusters goes even farther. First, it is her family. They are basically indifferent to their father's passing, and seem to have little concern about their mother's grief. The singer daughter (Caven) even goes so far as to use the sensationalism of the incident to further her career. It is here that a prior conflict between Corrina and her parents is hinted. The singer seems to have some empathy with her mother, and perhaps some deep-rooted issue with her father. But this is never quite explained or explored. Nevertheless, Mother Kusters seems to be alone in showing any respect for her dear departed.
The film then takes a subtle but surprising direction. Whereas the story to this point has dealt with emotional exploitation, Fassbinder introduces a political bend. A seemingly caring couple turn out to be members of the Communist Party. Their interest in the widow is as a symbolic example of the exploitation of the worker. The political angle of the story works surprisingly well, and is taken further with the introduction of anarchists, who of course also wish to use Frau Kusters for their own means.
The DVD version I have contains two endings. The first was apparently never filmed, and is instead shown in a summarized script format. The second was obviously tacked-on at a later date (everyone looks different), for American audiences. This is curious. Although upbeat ('happy'), the second ending is inferior and really rings untrue to the rest of the story. Did Fassbinder really feel this made the movie more saleable, or was this a corporate dictate? The endings' confusion aside, this is an excellent film.
Fassbinder once again explores deeply his usual (apparently personal) themes of emotional exploitation, cruelty, and the the political drama of post WWII Germany. Highly recommended!
WARNING: PLOT SPOILERS
The early part of this story deals with the death of Frau Kusters' husband, and the initial repercussions. At first it seems that the movie is to be an indictment of the press. Reporters and photographers immediately swoop-down onto the Kusters family, invading their privacy and mourning, in search of a fantastic story about a homicidal maniac. They sensationalize everything the family tells them about Hermann Kusters, and do indeed print an inaccurate, exaggerated portrait of this simple family man.
But the exploitation of Mother Kusters goes even farther. First, it is her family. They are basically indifferent to their father's passing, and seem to have little concern about their mother's grief. The singer daughter (Caven) even goes so far as to use the sensationalism of the incident to further her career. It is here that a prior conflict between Corrina and her parents is hinted. The singer seems to have some empathy with her mother, and perhaps some deep-rooted issue with her father. But this is never quite explained or explored. Nevertheless, Mother Kusters seems to be alone in showing any respect for her dear departed.
The film then takes a subtle but surprising direction. Whereas the story to this point has dealt with emotional exploitation, Fassbinder introduces a political bend. A seemingly caring couple turn out to be members of the Communist Party. Their interest in the widow is as a symbolic example of the exploitation of the worker. The political angle of the story works surprisingly well, and is taken further with the introduction of anarchists, who of course also wish to use Frau Kusters for their own means.
The DVD version I have contains two endings. The first was apparently never filmed, and is instead shown in a summarized script format. The second was obviously tacked-on at a later date (everyone looks different), for American audiences. This is curious. Although upbeat ('happy'), the second ending is inferior and really rings untrue to the rest of the story. Did Fassbinder really feel this made the movie more saleable, or was this a corporate dictate? The endings' confusion aside, this is an excellent film.
Fassbinder once again explores deeply his usual (apparently personal) themes of emotional exploitation, cruelty, and the the political drama of post WWII Germany. Highly recommended!