Querelle

A very difficult film, for many reasons. As a source novel, Genet's 'Querelle' presents a challenge for any adaptation but as this is R.W. Fassbinder's final work, one is compelled to ignore one's initial (poor) response and dig for signs of the vision seen elsewhere in his cannon.

This is a film that unrelentingly refuses to let the viewer in. Narrative is piled upon narrative which is further punctuated by Brechtian title cards containing quotes from a variety of sources (including, of course, Genet's novel). The high stylisation of setting and performance is deliberately off putting and distancing. In this world of almost exclusive homosexual desire, women are severely marginalised which leaves the great Jeanne Moreau with little to do other than warble a rather ridiculous (and ridiculously catchy) pop ditty that uses Oscar Wilde's 'Ballad of Reading Gaol' for lyrics. Here, choice of sexuality is symbolic for how one stands in opposition to social rules and true fulfilment and depth of being comes only in humility and, ultimately, humiliation. Of course, much of this overtly gay posturing can be seen simply as high camp and add an undeniable veneer of silliness which is, quite frankly, hard to shake off.

However, this is a deeply serious film. Maybe Fassbinder was simply looking to upset as many people as he could and the whole point is to alienate the viewer as much as possible, either into anger or submission. It's hard to fully know what to make of 'Querelle' but either way, although stunningly lit, it has little of the swagger or movement of his best work and comes across as rather staid and inert. But, again, possibly that's the point. Confusion and denial as to individual identity leads to frustration and random acts of violence (if only to oneself) and self imploding inertia. It's hard to criticise a film that is deliberate about these points but, ultimately, it is equally hard to like and finding a place for it is no easy task. Possibly a work to admire and provoke rather than one to enjoy.

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!

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.

Fassbinder's swan song takes everything to the extreme. So much so that critics have never quite been able to stomach it.

'Querelle' is such a stunning work of art on several levels: the Navy dockyard set with its near-sepia hazy opiate yellows and browns (contrasting against the colour of the sailors' outfits, the brilliant whiteness a parody of purity), evoking both sickness and a perpetual dusk of hard-ons, repression, indulgence and violence; the cinematography, some of the best in any Fassbinder film, capturing the actors' reflections in mirrors as the camera coolly observes the lovers they talk to (or 'at') -- lust in an impenetrable frame in which no one can be satisfied and everyone has their own agenda; the incredible erotic sexual ambiance that manages to be both appealing and threatening; the acting (Davis clearly finds this unsubtle role liberating after working in the very gay yet very homophobic world of Hollywood). I find more to enjoy in this film every time I view it.

The critics got it wrong here; perhaps a little too much sodomy for their bourgeois tastes? Let's see.. it has Brad Davis shirtless and sweaty in almost every scene (the one in which he's covered in oil and grease has to be the money shot); it features Jeanne Moreau being dramatic and elegant and making statements about men's 'pricks' (in a role that seemingly couldn't have been anyone else's); it's an adaptation of a work by the brilliant Jean Genet; it's directed by the incredible Fassbinder; it has lines like, 'my cock came out covered in s--t, if you want to know' -- how could all of this equal a bad film? Not in my book.

The film ends with an ode to Genet: 'Apart from his books we know nothing about him. Not even the date of his death, which he supposes to be near.' Fassbinder would be dead before the film was released, four years before Genet. And besides his films, we know nothing about Fassbinder.

'Querelle' is Fassbinder's final 'f--k you.'

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