Fassbinder, Rainer Werner - Penelope Gilliatt
PENELOPE GILLIATT
["Mother Küsters Goes to Heaven"] is like Brecht's plays and poems in declining open sensibility, but all the same its coinage is care for people, with a guttersnipe wit about the self-deceptions that slaughter intent…. The film has a melodramatic plot, but it is no melodrama. Any work of fiction is beyond melodrama when its logic is clear and large enough. The picture tells us that rhetoric is no escape; that a guru-disciple relationship between sexes or classes is damned; that primitivism of expression—losing one's mind, having a tantrum, using emotional bribery—makes savages of us all; that, since no film artist would hand you the keys to character, the only thing to watch is outward conduct. Mother Küsters does not, of course, go to heaven, as the title bitterly states. But she has made the best choice with her sausage and dumplings, and to have choice is, indeed, a sort of heaven on earth. The Communists were not the answer: they were...
[The entire page is 382 words long]
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