Holy Whore
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Holy Whore
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^ " Warnung vor einer heiligen Nutte " . Filmportal.de . Retrieved 29 February 2016 .
^ The Anarchy of the Imagination: Interviews, Essays, Notes . Johns Hopkins University Press. October 1992. ISBN 978-0801843693 .
^ "Jim's Reviews - Fassbinder's Beware of a Holy Whore" . Jclarkmedia.com . Retrieved 3 September 2018 .
^ Elsaesser, Thomas (3 September 1996). Fassbinder's Germany: History, Identity, Subject . Amsterdam University Press. ISBN 9789053560594 . Retrieved 3 September 2018 – via Google Books.
^ "Fassbinder Diary #3: Beware a Holy Whore - Film Comment" . Filmcomment.com . 26 May 2014 . Retrieved 3 September 2018 .
Beware of a Holy Whore ( German : Warnung vor einer heiligen Nutte ) is a 1971 West German drama film written and directed by Rainer Werner Fassbinder that features Lou Castel , Eddie Constantine , Hanna Schygulla and Fassbinder himself. Fassbinder considered this to be his favorite of his own films. [2]
While in a hotel with too much drink, drugs and time the cast and crew of a film are gradually unravelling as they await the arrival of their director. Semi-autobiographical, the film was influenced by the shooting of the director's earlier Whity in Spain. The film features music from Leonard Cohen 's first album Songs of Leonard Cohen and from Spooky Two by Spooky Tooth , among others.
Beware of a Holy Whore opens with a soliloquy (delivered by Werner Schroeter ) about the synopsis of a Disney story featuring Goofy , the dog. Goofy cross-dresses in his aunt's clothes to teach a kindergarten class and, after being ridiculed by the class, takes a "poor orphan girl" into his home. The little girl is actually a dwarf gangster, Wee Willy, and he fools Goofy into caring for him by wearing the clothes that Goofy discarded after being ridiculed by the school children. That night Goofy's house is raided by police and Wee Willy is arrested, revealing the "poor orphan girl's" true identity to Goofy. When Willy's true identity is revealed the confused Goofy says, "What a shock that must have been for the poor little girl when she discovered that she is a crook". In both instances—attempting to teach the kindergarten class and caring for Wee Willy—Goofy is beaten by those for whom he only sought to care. This opening soliloquy alludes to the film's underlying themes of violence, self-blindness, and same-sex and bisexual relationships. [3]
The action of the movie then moves to a coastal hotel in Spain where the cast of the film's meta-film "Patria O Muerte" are waiting for production money and the director (Lou Castel) and the star (Eddie Constantine, as himself) to arrive. While waiting for everything the cast engages in sexual intrigues (both same-sex and opposite-sex), slander, and challenging power dynamics amongst themselves. The director then arrives by helicopter and inserts himself in the mix of cast interactions in a draconian manner, flaring the already discordant interactions among the cast. The remainder of the production depicts the mayhem of a movie production wrought with vicissitude and conflicting power dynamics. [4] Fassbinder described the production as “a film about why living and working together as a group doesn’t function, even with people who want it to and for whom the group is life itself”. [5]
Thea Eymèsz Franz Walsch (Fassbinder)
28 August 1971 ( Venice Film Festival ) [1] 1 September 1971 ( West Germany ) 11 November 1976 ( US )
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(198 ratings) 100% positive over last 12 months
3.9 out of 5 stars
8 ratings
Is Discontinued By Manufacturer
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No MPAA rating
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Unrated (Not Rated) Package Dimensions
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7.5 x 5.4 x 0.5 inches; 2.4 Ounces Director
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Rainer Werner Fassbinder Media Format
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Color, Dolby, DVD, Full Screen, Subtitled, NTSC Run time
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1 hour and 43 minutes Release date
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May 20, 2003 Actors
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Marquard Bohm, Rudolf Waldemar Brem, Lou Castel, Eddie Constantine, Gianni Di Luigi Subtitles:
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English Language
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German (Dolby Digital 5.1), German (Dolby Digital 2.0 Mono) Studio
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Wellspring ASIN
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B00008L3WK Number of discs
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1
3.9 out of 5 stars
8 ratings
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Fassbinder made this dark drama, tinged with a clear autobiographical profile, which revolves around the travails of a director, who has collected the money to produce the film thanks to the work of a mature woman on the street(Hence the title of the film)and his terrible staff relations . The difficult relations of power in deep racks and hesitations of this director who does not have a clear visiíon the script, unleashing a series of murky and bitter discussions, reflections where the lack of love, angst and despair call find shelter in frivolity. The theme itself had already previously addressed. First was Fellini in 8 1/2, then the American Night with Truffaut. But Fassbinder, with his unmistakable style, knows a distinctly theatrical print but profoundly significant. Not Rainer masterpiece but worth mentioning an honest creative effort. Totally recommended.
Don't let the tongue-in-cheek title, which refers to cinema, deter you! Beware of a Holy Whore (1971) looks even better - and more complex - than when I first saw it theatrically several years ago; and Wellspring's DVD transfer is gorgeous (you can also choose either the original mono or new Dolby Digital 5.1 soundtrack). Fassbinder himself ranked this his best film on the list he made, shortly before his death, of "The Top 10 of My Own Films." Not only is this knowing satire - part screwball comedy, part existential pseudo-documentary - one of his two out-and-out comedies (1976's Satan's Brew is the other), it is also a probing, wickedly funny, yet celebratory film about filmmaking. Although some will heartily disagree, for me it ranks with such classics of this rarefied subgenre as Godard's Contempt and Fellini's 8-1/2 (both 1963), and seems more illuminating, and even entertaining, than Truffaut's wonderful Day for Night (1973). But there is much more of interest than its behind-the-scenes peek at dysfunctional moviemaking. There are its autobiographical layers (Fassbinder not only appears in a crucial supporting role as the harried production manager Sascha, he parodies himself wickedly through the central character of the tyrannical director, Jeff); a brilliant use of rhythm, both within scenes and in the overall flow of the film (Fassbinder was also the co-editor); some of the most beautiful, subtle and complex visual design - and camera movement - of any of his films up to that point (the great Michael Ballhaus was the cinematographer; he now shoots Scorsese's films); an ecelctic, brilliantly deployed soundtrack ranging from Peer Raben's haunting original score to songs from Leonard Cohen, Ray Charles, and Elvis Presley to a haunting Donizetti aria; a superb ensemble cast (it follows about a dozen major characters - although it focuses on Jeff - and looks ahead to, say, Altman's Nashville); not to mention psychological insight, and some surprising yet on-target character revelations. Fassbinder delves into extremely dark and tangled emotions in this comedy; and although there are many laughs, they often stem from violence. When a character asks Jeff what type of movie he is directing, he replies, "It's a film about brutality. What else would one make a film about?" Fassbinder was an enormously complex artist, and man, who understood from personal experience the cruel power plays, and blindness, of people in love. He admitted that he was capable of oppressing the people close to him (often his crews and cast were also his friends and lovers), yet he showed enormous compassion - in his life and work - for both victims and victimisers; and he understood that the same person could play both roles. And although this pivotal film - which looks back to his earlier, more abstract works and ahead to his unique melodramas - often has a languid pace, Fassbinder never stops digging beneath the surface, exploring the sources of human need: love, desire for power, longing, dependency, repressed wishes, unfulfilled dreams, and all manner of frustrations. With emotional meltdown possible at any moment, it is no wonder that the title begins with "beware," immediately telling us that that this is a cautionary tale. The title's other two words suggest the struggle, in each of us, between the spiritual and the raw. Filmmaking proves a fascinating combination of those two distinct yet intertwined qualities, especially as embodied by Jeff. On the one hand, he makes life a living hell for his producer Manfred (Karl Scheydt) - who's in love with him, his production manager Sascha (Fassbinder), his fling Babs (Maragrethe von Trotta) - who happens to be Sascha's girlfriend, his ballistic ex named Irm (Magdalena Montezuma) who has convinced herself that she would "bear his children," and especially his on-again/off-again boyfriend Ricky (Marquard Bohm). Not to mention everybody else. But we also see Jeff's redemptive love for filmmaking, such as the spellbinding scene in which he tells his cinematographer exactly what he wants in a complicated shot and why. There is real fire in Jeff, and a natural poetry in his words, as writer/director Fassbinder turns cinema into language, even as the camera movement he uses counterpoints Jeff's vivid description of what he plans to film. But film is not all "holy," and throughout the camera often suggests voyeurism, both of cinema and of us, the audience. It often seems to be peeking around corners or pillars, as if it were eavesdropping. Although film production is not part of most people's lives, Fassbinder manages to make it a probing metaphor for universal human experience, in one of his most hilarious, disturbing yet deeply moving pictures.
If Francois Truffaut's "Day for Night" shows the joy of cinema, Rainer Werner Fassbinder's "Beware of A Holy Whore" shows the downside of cinema. The pain and misery which goes into a production. What a contrast between the director Truffaut played, who had one bad incident after another occur, but through it all had a smile on his face and the director in this film, Jeff (Lou Castle) who does nothing but complain and yell at the top of his lungs when the slightest problem occurs. It is rumored that this film was inspired by events on the set of Fassbinder's previous film, "Whity", he version of a western. If there is any truth to this we have to wonder how on earth did Fassbinder direct 43 films! It's amazing that he ever completed one. Some suggest that the film is really a parody. That Fassbinder is making fun of himself. But, here's the thing. The film can only be a parody if there is some truth behind it. So once again I'll ask, how on earth did Fassbinder direct 43 films in this sort of environment? The film has a group of people, including Hanna Schygulla, who worked many times with Fassbinder and Fassbinder himself is in the film, all waiting to shoot a film. Everyone seems to be in a daze, I wonder if Werner Herzog hypnotized this cast as well, as he suppossedly did on the set of his own film "Heart of Glass". But there is also a werid sexual vibe going on. We see various characters kissing one another as everyone seems to be jumping from one person to the next. And to be honest no one really stood out to me. One thing that surprised me, and I don't know why it did, was the level of violence in these characters. Fassbinder did lead a frantic lifestyle of drugs and alcohol, so perhaps all of his characters were a reflection of him, but in this film I came to strongly realize what a group of violent people Fassbinder liked to make films about. So you have film-makers like Herzog making films about characters I find crazy and Fassbinder making films about violent people, where do you go to watch normal people. Both directors have succeeded in making films about people we wouldn't want as neighbors. A lot of people, even Fassbinder fans, will become annoyed with the film. It doesn't seem to be doing much. But something about it held my interest. Maybe it was just the fact of seeing such strange characters. I don't think of this as one of the great Fassbinder films in a class with "The Merchant of Four Seasons", which would be his next film, or "The Bitter Tears of Petra von Kant" or even "Ali: Fear Eats the Soul". But I still think people should make an effort to see it. So a moderate recommendation. Bottom-line: Not one of the great Fassbinder films but has some interesting moments. Could be seen as the flip-side of Truffaut's "Day for Night"
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Fans of the prodigiously gifted Rainer Werner Fassbinder will find Beware of a Holy Whore the German director's most revealing look inside his filmmaking process. A kind of neurotic backstage comedy, the movie details the struggles of a film crew in Spain: the jealousies, tantrums, money problems. He doesn't spare himself in this process, as the movie's director (played by Lou Castel) is a petulant manipulator given to screaming fits. RWF himself plays a long-suffering production manager; the great pock-marked star of French B movies, Eddie Constantine, plays himself (looking somewhat bewildered by the deadpan jokes and frequent lulls). If the slack pacing and Warholian weirdness limit the movie, it nevertheless looks very vivid, thanks to future Hollywood cinematographer Michael Ballhaus. Fassbinder made around 40 features in his brief life, and this self-portrait gives hints about the maddening, mercurial personality that could pull off such a feat. --Robert Horton
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Color, Dolby, DVD, Full Screen, Subtitled, NTSC
Marquard Bohm, Gianni Di Luigi, Magdalena Montezuma, Thomas Schieder, Benjamin Lev, Enzo Monteduro, Rainer Werner Fassbinder, Karl Scheydt, Eddie Constantine, Monica Teuber, Rudolf Waldemar Brem, Lou Castel, Werner Schroeter, Ulli Lommel, Hanna Schygulla, Margarethe von Trotta, Hannes Fuchs (II), Marcella Michelangeli, Kurt Raab Marquard Bohm, Gianni Di Luigi, Magdalena Montezuma, Thomas Schieder, Benjamin Lev, Enzo Monteduro, Rainer Werner Fassbinder, Karl Scheydt, Eddie Constantine, Monica Teuber, Rudolf Waldemar Brem, Lou Castel, Werner Schroeter, Ulli Lommel, Hanna Schygulla, Margarethe von Trotta, Hannes Fuchs (II), Marcella Michelangeli, Kurt Raab… See more
Sacred Prostitution: The Whore and the
Holy One , a paper by Elizabeth Cunningham prepared
for The New Seminary
I was sent forth from the power, and I have
come to those who reflect upon me, and I have been found
among those who seek after me, Look upon me, you who
reflect upon me, and you hearers, hear me. You who are
waiting for me, take me to yourselves And do not banish me
from your sight…
For I am the first and the last I am the
honored one and the scorned one, I am the whore and the
holy one…
I am the silence that is
incomprehensible
Kinky Alice
X X X Uncensored
Zuzana Striptease Dirty Dancers