One the tablets used by Fassbinder in this movie (the same method he shall use 6 years later in "Berlin Alexanerplatz") shows the text: "He put her under pressure wherever he could. So-to-say a calculus of fear" (Fontane). As any other calculi, also the calculus of fear consists of theorems. Speaking about the relationship between Von Instetten and Effi, we have: 1. Never treat her without menacing, but do not show the menace open, so that you can deny it after. 2. Isolate her from society, best make her a child as soon as possible so that she does not get bored. 3. Never praise her for what she is doing, unless in the presence of foreigners. 4. Praise her in front of her parents with whom you should establish a good friendship. If she is complaining later about her marriage, the guilt will be given to her.
As the sub-title of the movie says (the longest ever used in a movie): The movie is about those people who are capable to see the unjustness of social rules but don't help changing them, and by doing so, confirm them. "Effi Briest" is therefore a typical Fassbinder movie which he liked to call "melodramas" and thus also a predecessor of his later "women-movies" about Maria Braun, Lola, Lili Marleen and Veronika Voss.
That this film is an outstanding masterpiece has nowadays been recognized by all leading film experts around the world. Although Fassbinder let himself sometimes inspire by works of literature, Fontane's "Effi Briest" is one of his only three explicit literature adaptations, besides "Berlin Alexanderplatz" and "Querelle". One could perhaps go as far and say: While in "Effi Briest", society is criticized at the hand of one single, individual fate, in "Berlin Alexanderplatz" a society as a whole is put in the pillory, and in "Querelle" a possible alternative world after all the disgust is shown. Fassbinder made this long way in societal criticism in only eight years, during which he approached the society of the time in which he lived, by systematically coming closer to reach the 50ies of the 20th century (Lola). His movies can be seen as chronicles of different means of suppression by using calculi which turn out to be independent of time.
