Querelle - Ein Pakt mit dem Teufel

"Querelle",which was last work of Rainer, was my first Fassbinder's experience. I think many times before see it, because I didn't know if "Querelle" was the correct film to begin to understand the work of an artist like Fassbinder. But, i decided... and i read a Lot of critics that tell that was a bad movie and a bad work of Fassbinder... i think just the opposite. Fassbinder's "Querelle" is one of the best movies that i have ever seen with this delicate topic of homosexuality.

Fassbinder's "Querelle", based in the novel of the same name by Genet, told us the story of Querelle, a sailor who is going to live an unpleasant conflict among him and the people who surrounds him. Is a tale of sexuality and murder. Fassbinder's "Querelle" is an important anlization of the man's decadence. A man that is able to murder, to sell his best friend, to be a real monster. But Querelle is a man, and at the same time is a selfish monster... like much of us. The movie is too an analization of the masculine thing, and is important have clear that Fassbinder's "Querelle" is not a gay film at all... is the recognition of different ways to love.

I have not seen much of Fassbinder (I hope that my next film, that i want see: "The Marriage of Maria Braun", catch me like this one) but this work with poetic force is one of the most important looks (As i said before) to the human decadence (With "Salò o le 120 giornate di Sodoma" and "Dogville"). I hope that people that has not still seen it don't be allowed to guide of much of the bad critics. Just see it... and tell us the things that you think. For me, is a real masterpiece.

*Sorry for the mistakes... well, if there any.

This attempt to film Genet is commendable in tackling so difficult a work. Fassbinder's scenery is so obviously studio sets that the film takes on a "filmed play" quality. The color is beautiful, and the cast is very attractive. I had difficulty in following the proceedings, and much of the printed quotatons were puzzling. Some of the fantasy inserts were likewise confusing. But the strong cast made up for many of these weak points and raised the film to a level it would otherwise never have achieved. It is still lesser Fassbinder, but an often fascinating film to watch.

German director Rainer Werner Fassbinder's final film before his untimely death at the age of 37 from a drug overdose of cocaine and sleeping pills. Adapted from the novel "Querelle De Brest" by Jean Genet this film is a visually striking surrealistic homoerotic fable, which starred the late bisexual American actor Brad Davis who was tragically ravaged by AIDS and died at the age of 41 some nine years after this film's release by assisted suicide. This highly stylized film concerns a handsome muscular amoral French sailor named Georges Querelle, played brilliantly by Davis who injects a raw and animistic complexity into role, he comes to terms was his latent homosexuality when his ship docks in the coastal town of Brest, and he makes his way to a local brothel which is run by Madame Lysiane, superbly played by the late great Jeanne Moreau, whose lover is Querelle's brother Robert, well played by Hanno Poschi, whom he has an odd love-hate relationship with. During his time in the coastal town Querelle will become a murderer and a magnet for a bunch of unsavory characters whom he meets for rough gay sex. Franco Nero superbly plays an officer from Querelle's ship that is enamored with him and worships him secretly from afar, and records his feelings on tape. Good direction by Fassbinder with impressive cinematography by Xaver Schwarzenberger and Josef Vavra. A disturbing art-house motion picture which is not for all tastes.

After its end, easy to define it as a masterpiece. And the motives are so many than you can reduce them to cast - Jeanne Moreau , Franco Nero, Laurent Malet or, off course, Brad davis, to the illustration of the perspective about homosexuality of Jean Genet , to the touch, so obvious to bsessive, of Tom of Finland art , to the poetry, in bitter sparkles or to the crazness of Rainer Werner Fassbinder.

In same measure, it is far to be a film for you like or love it but for see it, time by time, having the feeling than you see it , always, the first time.

It is a film making you, for less two hours, its prisoner. For themes, ambiguity , dialogue, who, at first, sounds so forced, for the music, scenes and portraits of characters, for decisions and vulnerabilities , exposed so simple.

In short, a masterpiece. One far to be easy to define, enough being to feel it.

Jean Genet's queer theory is still cutting edge and controversial. The film version can't begin to encompass all the ideas in the novel, but it stands on its own. This film is stylized and poetic, raw and crass. Tenderness and brutality blend until you can't tell one from the other. Betrayal becomes an act of affection. Submission is empowering.

Characters travel to extremes in their journeys of self discovery. One man seduces his young lover with lecherous statements about the boy's sister, "Imagine what I'd do to her if I were holding her like I'm holding you right now." The same man later rants in a bar, "I'm all man!!! I even f*** guys!" This dichotomy of gender-play and defiant same-sexuality is at the root of Genet's queer theory. Even someone with no knowledge of Genet's philosophy will be struck by its power in this film.