Rainer Werner Fassbinder (; 31 May 1945 – 10 June 1982), sometimes credited as R. W. Fassbinder, was a German filmmaker, dramatist and actor. He is widely regarded as one of the major figures and catalysts of the New German Cinema movement. He directed over 40 films that span a variety of genres; frequently his work blends elements of Hollywood melodrama with social criticism and avant-garde techniques. His films, according to him, explored "the exploitability of feelings". His work was deeply rooted in post-war German culture: the aftermath of Nazism, the German economic miracle and the Red Army Faction. Early on, Fassbinder focused on marginalized figures in the city—migrant workers, prisoners, and gay people. He worked with a company of actors and technicians who frequently appeared in his projects.
Fassbinder began leading the acting troupe Anti-Theater in 1967, with whom he staged some of his earliest productions. His first feature-length film was a gangster movie called Love Is Colder Than Death (1969); he scored his first domestic commercial success with The Merchant of Four Seasons (1972) and his first international success with Ali: Fear Eats the Soul (1974), both of which are considered masterpieces by contemporary critics. Big-budget projects such as Despair (1978), Lili Marleen and Lola (both 1981) followed. His greatest success came with The Marriage of Maria Braun (1979), chronicling the rise and fall of a German woman in the wake of World War II. Other notable films include the lesbian chamber drama The Bitter Tears of Petra von Kant (1972), Fox and His Friends (1975), Satan's Brew (1976), In a Year of 13 Moons (1978) and Querelle (1982), all of which dealt with homoerotic themes. He also directed the TV series World on a Wire (1973) and Berlin Alexanderplatz (1980).
Fassbinder died on 10 June 1982, aged 37, from a lethal cocktail of cocaine and barbiturates. His career lasted less than two decades, but he was extremely prolific; between 1967 and 1982, he completed over 40 feature films, 24 plays, two television serials, three short films and four video productions, winning five of the most prestigious prizes for feature film in Germany, including the Golden Bear and multiple German Film Awards. His premature death is often considered the end of the New German Cinema timeframe.
Early life Fassbinder was born in the small town of Bad Wörishofen on 31 May 1945. He was born three weeks after US Army occupied the town and the unconditional surrender of Germany. The aftermath of World War II deeply marked his childhood and the lives of his family. In compliance with his mother's wishes, Fassbinder later claimed he was born on 31 May 1946, to more clearly establish himself as a child of the post-war period; his real age was revealed shortly before his death. He was the only child of Liselotte Pempeit (1922–93), a translator, and Helmut Fassbinder, a doctor who worked from the couple's apartment in Sendlinger Straße, near Munich's red light district. When he was three months old, he was left with a paternal uncle and aunt in the country, since his parents feared he would not survive the winter with them. He was one year old when he was returned to his parents in Munich. Fassbinder's mother came from the Free City of Danzig (now Gdańsk, Poland), whence many Germans had fled following World War II. As a result, a number of her relatives came to live with them in Munich.
Fassbinder's parents were cultured members of the bourgeoisie. His father concentrated on his career, which he saw as a means to inspire his passion for writing poetry. His mother largely ignored him as well, spending the majority of her time with her husband working on his career. In 1951, Liselotte Pempeit and Helmut Fassbinder divorced. Helmut moved to Cologne while Liselotte raised her son as a single parent in Munich. To support herself and her child, Pempeit took in boarders and found employment as a German to English translator. When she was working, she often sent her son to the cinema to pass time. Later in life, Fassbinder claimed that he saw at least one film a day, sometimes as many as four per day. During this period, Pempeit was often away from her son for long periods while she recuperated from tuberculosis. In his mother's absence, Fassbinder was looked after by his mother's tenants and friends. As he was often left alone, he became used to the independence and later became a juvenile delinquent. He clashed with his mother's younger lover Siegfried, who lived with them when Fassbinder was around eight or nine years old. He had a similar difficult relationship with the much older journalist Wolff Eder (c.1905–71), who became his stepfather in 1959. Early in his adolescence, Fassbinder came out as bisexual.
As a teen, Fassbinder was sent to boarding school. His time there was marred by his repeated escape attempts, and he eventually left school before any final examinations. At the age of 15, he moved to Cologne with his father. Though they argued constantly, Fassbinder stayed with his father for a couple of years while attending night school. To earn money, he worked small jobs; he also helped his father, who rented apartments to migrant workers. During this time, Fassbinder began to immerse himself in his father's world of culture, writing poems, short plays, and stories.
Beginnings In 1963, aged 18, Fassbinder returned to Munich with plans to attend night school with the idea to eventually study drama. Following his mother's advice, he took acting lessons and from 1964 to 1966 attended the Fridl-Leonhard Studio for actors in Munich. There, he met Hanna Schygulla, who would become one of his most important actors. During this time, aged 20, he made his first 8mm short films, worked as a sound man in student films and as an assistant director or in small acting roles in theatre. During this period, he also wrote the tragic-comic play: Drops on Hot Stones. To gain entry to the Berlin Film School, Fassbinder submitted a film version of his play Parallels. He also entered several 8 mm films including This Night (now considered lost), but he was turned down for admission, as were Werner Schroeter and Rosa von Praunheim who would also have careers as film directors.
He returned to Munich where he continued with his writing. He also made two short films, The City Tramp (Der Stadtstreicher, 1966) and The Little Chaos (Das Kleine Chaos, 1967). Shot in black and white, they were financed by Fassbinder's lover, Christoph Roser, an aspiring actor from a wealthy family, in exchange for leading roles. Fassbinder acted in both of these films, which also featured Irm Hermann. In the latter, his mother – under the name of Lilo Pempeit – played the first of many parts in her son's films.
Theatre career At the age of 22, Fassbinder joined the now defunct Munich Action-Theatre in 1967; there, he was active as actor, director and scriptwriter. After two months he became the theatre's leader. In April 1968, he directed the production of his play Katzelmacher, which tells the story of a foreign worker from Greece who becomes the object of intense racial, sexual, and political hatred among a group of Bavarian "slackers". A few weeks later, in May 1968, the Action-Theatre was disbanded after its theatre was wrecked by one of its founders. It promptly reformed as the Anti-Theatre under Fassbinder's direction. The troupe lived and performed together. This close-knit group of young actors included among them Fassbinder, Peer Raben, Harry Baer and Kurt Raab, who along with Hanna Schygulla and Irm Hermann became the most important members of his cinematic stock company. Working with the Anti-Theatre, Fassbinder continued writing, directing and acting. In the space of 18 months he directed 12 plays. Of these 12 plays, four were written by Fassbinder; he rewrote five others.
The style of his stage directing closely resembled that of his early films, a mixture of choreographed movement and static poses, taking its cues from musicals, cabaret, films and the student protest movement.
After he made his earliest feature films in 1969, when he was 24, Fassbinder centered his career on directing films but maintained an intermittent foothold in the theater until his death. He worked in various productions throughout Germany and made a number of radio plays in the early 1970s. In 1974, aged 29, he took directorial control over the Theater am Turm (TAT) of Frankfurt; when this project ended in failure and controversy, he became less interested in theatre.
In honor of Rosa von Praunheim, Fassbinder staged the play Dedicated to Rosa von Praunheim.
Early films and acclaim Fassbinder used his theatrical work as a springboard for making films; and many of the Anti-Theater actors and crew worked with him throughout his entire career (for instance, he made 20 films each with actresses Hanna Schygulla and Irm Herrmann). He was strongly influenced by Brecht's Verfremdungseffekt (alienation effect) and the French New Wave cinema, particularly the works of Jean-Luc Godard. He also praised The Damned (1969) by Luchino Visconti as his favorite movie. Other filmmakers who influenced Fassbinder included Howard Hawks, Michael Curtiz, Raoul Walsh, and Nicholas Ray.
Fassbinder developed his rapid working methods early. Because he knew his actors and technicians so well, Fassbinder was able to complete as many as four or five films per year on extremely low budgets. This allowed him to compete successfully for the government grants needed to continue making films.
Unlike the other major auteurs of the New German Cinema, Volker Schlöndorff, Werner Herzog and Wim Wenders, who started out making movies, Fassbinder's stage background was evident throughout his work. Additionally, he learned how to handle all phases of production, from writing and acting to direction and theater management. This versatility surfaced in his films too where, in addition to some of the aforementioned responsibilities, Fassbinder served as composer, production designer, cinematographer, producer and editor. He also appeared in 30 projects of other directors.
By 1976, Fassbinder had gained international prominence, prizes at major film festivals, premieres and retrospectives in Paris, New York and Los Angeles, and a study of his work by Tony Rayns had been published. All these factors helped make him a familiar name among cinephiles and campus audiences throughout the world. He lived in Munich when not traveling, rented a house in Paris with ex-wife Ingrid Caven. He was often seen in gay bars in New York, earning him cult hero status, but also a controversial reputation in and out of his films. His films were a fixture in art houses of the time after he became internationally known with Ali: Fear Eats the Soul. In 1977, he was a member of the jury at the 27th Berlin International Film Festival.
Film career