Querelle (Un pacto con el diablo)

Translating Genet to film is certainly not an easy task since he cares relatively little as a writer for conventional plot and his storyline is essentially the baroque flow of feeling from his inner life. But this film does a masterful job of capturing all the subtle nuance of Genet's poetry in the flow of its' imagery. The mood is intensely introverted and philosophically existential throughout. The sets have the feel of the German Cinema around the time of THE CABINET OF DOCTOR CALIGARI, and yet the images flow around the angularity of the sets creating a wonderful tension between the characters and their milieu. This is Fassbinder at his very best. And the performance of Brad Davis is outstanding combining a rough, male-like crudeness with the innocence stemming from a young animal's eager naturalness. He creates a character who is forever trying to mask his simplicity, a kind of gothic Angel repeatedly discovering the Vampire stalking him from within. This is in keeping with Genet the writer who displays his suffering poetically, -like a tangle of gilded roses twined about a leper. The whole thing is a marvellous rendering of a kind of languidly sensuous celebration of the darker side of the male psyche. Since Brad Davis also appeared in THE PLAYER, we might say this film is like Huckleberry Finn meeting Nosferatu with a drunken Anne Rice as narrator. Bizarrly brilliant!

A R.W. Fassbinder double-feature binge (Chinese ROULETTE 1976 and QUERELLE 1982, his swan song) coincides with a starting point for me to access his oeuvre, as one of the pioneer of modern German cinema, Fassbinder has a burning-too-fast career orbit, as if he was exerting all his energy in cranking out films before his dooming self-indulgent suicide at the age of 37 (with more than 40 works done in 15 years). Yet two films must have its restricted view, but Fassbinder films' mindset nevertheless more or less could be conjectured from them, and his stylish flourish is also mesmerizingly toxic.

Both films could adopt themselves comfortably into a theatrical play not the least courtesy of their (mostly or exclusively) in-door locales, for Chinese ROULETTE, it has a secular tone, 90% of the film takes place inside a rural mansion, with familial secrets, connubial deceptions, mother-daughter hatred, the divide of social strata, vindictive self-destruction viciously unfold and infuse a deleterious corruption even to the onlookers, all is triggered by the innocuous eponymous game. While QUERELLE is projected on more ritualized dark amber light maroon background setting stimulating a claustrophobic oppression of lust and desire within a handful locations (the faux-deck of a ship ashore, the phallus worship Hotel Feria Bar, an underground tunnel for hideaway), a male-dominant sexual obsession mingled with blatant homosexual thrust to an astounding incestuous extremity, brilliantly done via an intuitive candor.

Mirror is a recurrent item in both films, exposes the other-half which reflects the true id inside one's soul, in Chinese ROULETTE the stunning flux of the stationary tableaux interlacing two or three out of the eight characters orchestrates a scintillating picture of a guilt-and-punishment visual symphony with swishy panache; in QUERELLE, mirrors reduce their occurrence but the conscientiously measured compositions transpire an even more ostentatious narcissism with a sultry plume of hormone-excreting rugged contours of male bodies.

QUERELLE is adapted from Jean Genet's novel "QUERELLE DE BREST", whose literature text also introduced through the soothing voice-over of an unknown narrator, the film does stage a sensible amount of poetic license to filter a vicarious compassion through a singular mortal's inscrutable behavioral symptoms; in Chinese ROULETTE, a prose (or poem) soliloquy of androgyny also contrives to reach the same effect (but sounds a trifle recondite when contextualizing it under the film's incumbent situation). Anyhow Fassbinder is a trailblazer in defying the mainstream's prejudices, and very capable of visualize and dissect the tumor of humanity.

The cast, there are 8 characters in Chinese ROULETTE, with almost equal weight in the screen time, but it is the youngest one, Andrea Schober (under Fassbinder's guidance for sure), the crippled girl seeks for revenge to her parents' betrayal and negligence, teaches all of us a lesson (how selfish we are to find a scapegoat for every bit of repercussions happen to us) with such acute insight, fearless audacity and extreme measures. While big name (Anna Karina) and other Fassbinder's regulars (Margit Carstensen, Brigitte Mira, Ulli Lommel) all end up licking their own wounds in the corner.

In QUERELLE, Brad Davis (a real-life AIDS fighter then) is valiant, his masculinity and sinewy physique defies all the stereotyped treatment of gay men in the media, injecting a raw and visceral complexity into Querelle's spontaneous promiscuity and sporadic anger. Hanno Pöschl may fall short to guarantee the vigorous duality required for his two roles, but the gut- bashing combats (or playing) between two brothers fabricate the most erotic intimacy has ever been presented on the screen. Two veterans, Franco Nero is either recording his secret affection in the cabinet or wandering near Querelle from oblique angles; the fading beauty Jeanne Moreau, hums "Each man kills the things he loves", and is lost in her own fantasy of the banquet she can savor.

Personally I incline towards QUERELLE's unconventional approach to kill off the ambiguities of sexual orientation and examine the most primal desire made with blood and flesh, but Chinese ROULETTE achieves another form of success, it maintains a serene aplomb above all the vile assault and bitter turbulence, like the unspecified pistol shot at the coda, no matter who bites the dust, a bullet is never an ultimate solution to all the problems.

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.

I don't think I quite understood what "Querelle" was about but the good aspect of it is that you at each view you get new things, and it grows on you. Far from being a masterpiece like "Ali: Fear Eats the Soul" or "The Bitter Tears of Petra von Kant", but this is a very good project directed by Rainer Werner Fassbinder, his last and the one he got some of the heaviest criticism of his career. In a way, the most tragical of all of his works after being forced to cut part of it to get a release in America, probably the first time he ever had to back down and cut something he directed.

Based on author Jean Genet's 1947 novel Querelle de Brest, the movie revolves about Querelle, an Belgian sailor (Brad Davis) who plays with danger with his criminal affairs selling opium and his involvement with male and female, using of his good looks to get what he wants. To him (and to everyone around him) everything's a game in which losing sometimes can be useful (the dice game where he deliberately loses in order to have sex with Nuno, played by Gunther Kauffman). Querelle's a man with many love affairs and relations, center of attention of his own brother (Hanno Pöschl), and their strange "brotherhood", love/hate kind of thing; Nuno, his wife (Jeanne Moreau) owner of a decadent bar where most of the film takes place, and he's treasured from distance by his captain (Franco Nero). The other half of the film explores what can be called of real love between Querelle and a murderer (who is played by the same actor who plays the brother).

The movie is very open when it comes to presenting Querelle's involvements with both genders, specially his sexual scenes with another men, very bold at the time. If the story gets too much on a second plan, since the ideas are somewhat vague, foggy, the high point of enjoyment of the film is seeing Querelle getting well with his mates. For the most part, the movie isn't so exciting and is very confusing with its imposition of ideas one on top of another. What's the story in deeper terms? A man discovering his sexuality, trying new things or he's trying to find real love? Is he testing his moves as a player or he's just a man trying to survive using of his talents? Fassbinder intrigues us more with the whole concept of man being a product of his environment, adapting to his (and others) needs and what he makes here (don't know if the same happen in the book) is a strange fantasy world where everyone is bisexual or have more inclination towards another man, enjoying endless sunsets created on fake sets, surrounded by large columns resembling phallic elements. The script is more like a literary work than a cinematic experience, with several cards expressing Querelle's inner thoughts or the captain's romantic narration watching the love of his life, working all sweaty.

Rainer had his reasons and perhaps we'll never know what motivated him making this film in the way he did, but the artist is deeply immersed in this work, putting elements of his life, his love and all (including a dedication to El-Hedi Ben Salem, one of his partners, who died that year). A little bit butchered, panned by critics and part of the public, a distressing experience to the director who wasn't much in his best moment in life but with career on the top, but sadly he died and this was his last film. Not much of a great swan song but very admirable in several ways. The risk taken by Brad Davis was incredible and unfortunately he paid the price for it, barely appearing on well-known films or great projects. But what a performance! He's really good, very desirable and makes the character be what he needs to be. How many times you've seen a film where it is sold to us someone who is so beautiful and attracts everything and everyone but when you look at, it doesn't cause such effect? Davis was all that.

Here's a tale about immorality, manipulation, the right of the strongest to conquer anything, ultimately about the individuals who kill the things he love. Men, essentially. 7/10

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.