The American Soldier

I am not really too sure what the love affection people have for Fassbinder is. He made some wildly uneven movies, Mind you, I've been wrong before on directors (especially on Bergman) so I'll keep this opinion til proved otherwise. 'The American Soldier" is Fassbiner's attempt at a Film Noir. He doesn't succeed. OK, this film is totally miscast. The 'Gangsters' don't begin to look like gangsters. They look like Germans wearing funny costumes! The story, about a killer who is assigned a series of killings by some corrupt police officers is hardly suspenseful and yes, drags for the 70 (!!) minute screening time. And finally the women are, well, German.

Oh dear, am I going to get flak for this one.

The European pseudo-noirs of the 60s and 70s reaped the benefits of being able to skip a number of steps in the writing process simply by adopting styles and themes from previous films. What was left was to add one's own spin to an existing story. Fassbinder was a genius at taking a style and making it his own, not in a superficially Tarantino-ish way, but in a way that was at once equally unique and dependent, retaining the benefits of a style and pushing it even further into his own territory.

In this sense, this film is an early experiment: a war veteran turned contract killer stoically carrying out his duties, but in a post-war German environment and with homoerotic undertones galore. But it's remarkably coherent and compelling considering how little the plot gives away explicitly. Indeed, this would become one of his trademarks.

4 out of 5 - An excellent film

American SOLDIER is certainly not among Fassbinder's greatest works. Fassbinder's oeuvre demands that his actors 'pose' rather than 'act'. Ordinarily, a successful dramatic performance allows the viewer to forget that an actor is 'pretending', but that one is witnessing a real depiction of emotions and reactions. However, Fassbinder strives for the converse of this process. He seems to aim for an almost militant lack of affectation, and his actors strike stylized poses which only represent authentic emotions. It's almost like German Kabuki Theater. It would seem that this form of acting technique would lend itself very well to the genre of Gangster Noir, but this film definitely missed the mark. The tale of three rogue police detectives who employ the skills of a heartless American Vietnam veteran is bogged down in an untidy avalanche of wacky details. Odd monologues, pointless car trips, enigmatic phone calls, and arguably the weirdest final scene ever brought to film, do not advance the storyline, but only confuse and perplex the viewer. Fassbinder's more successful films created surreal hyper-realities, but American SOLDIER only conveyed a feeling of disconnected opaqueness. Only for Die Hard Fassbinder Fans.

This is a very funny attempt by the director to deal with the "klischee"( german spelling) of the american man, or at least how the proletarian german man is looking across the atlantic. All americans are good in bed? goodlooking? violent and yet cool? Why is there a need to put ketchup on a shot person's shirt? Would you really believe then that somebody was actually killed? I agree with other viewers that this not a movie that could be considered enjoyable at all times, but it beats movies like "the patriot" or "frida" any time, because it doesn't take itself serious. And that in itself is exactly the director's criticism of american culture ( what an abuse of the word culture!) and their consistant effort to tell you everything is allright and we are the good guys. Here, have another Diet coke, or would you like a Big Mac with your Whitney Houston?

For me the very start and the very end of this hilarious parody of gangster films were the most suspenseful parts. The start because it was the first time in a VERY long time that I had sat down to a film not knowing if it was going to be in black & white or colour (happily it turned out to be in black & white); the ending because I found myself wondering just how long Fassbinder was going to hold the incredible slow motion final shot as Kurt Raab thrashed about on the ground.

With 'Der Amerikanische Soldat' Fassbinder finally made a film that's fun to sit through. With stylish film noir photography by Dietrich Lohmann and a tremendous score by Peer Raben, its imagery and tone seems to draw more on recent pastiches by continental cineastes like 'Alphaville' and 'Le Samourai' than the Hollywood originals that Godard & Melville had drawn upon. Most of the cast look either stoned or hung over. I don't know how seriously Fassbinder and his chums were actually taking it, but I found it a blast.