domingo, 11 de outubro de 2009

(...) I have tried to write about six films by Douglas Sirk and I discovered the difficulty of writing about films which are concerned with life and are not literature. I have left out a lot which might have been more important. I haven't said enough about the lighting: how careful it is, how it helps Sirk to change the stories he had to tell. Only Joseph Von Sternberg is a match for him at lighting. And I haven't said enough about the interiors Douglas Sirk had constructed. How incredibly exact they are. And I haven't gone into the importance of flowers and mirrors and what they signify in the stories Sirk tells us. I haven't emphasised enough that Sirk is a director who gets maximum results out of actors. That in Sirk's films even zombies like Marianne Koch and Liselotte Pulver come across as real human beings, in whom we can and want to believe. And then I have seen far too few of Sirk's films. I would like to have seen them all, all thirty-nine of them. Perhaps I would have got further with myself, my life and my friends. I have seen six films by Douglas Sirk. Among them were the most beautiful in the world.

RAINER WERNER FASSBINDER

4 comentários:

Christophe disse...

these lines are the greatest Fassbinder's contribution to cinema.

bruno andrade disse...

I'll stick to Beware of the Holy Whore for that matter.

But he wrote great stuff about the things he loved, that's for sure.

I should be sending his lines on A Time to Love and a Time to Die later on.

Anônimo disse...

De todas maneras, y aunque esquematiza, subraya (y por tanto simplifica y empequeñece) a Sirk, es un texto muy notable, decisivo para comprender, más aún que a DS, a RWF. O el Sirk final alemán, los tres cortos (pero sublimes) melodramas escolares que rodó, entre otros, con RWF y varios de sus actores.
Miguel Marías

bruno andrade disse...

O texto do Fassbinder sobre A Time to Love and a Time to Die dá justamente essa impressão: a de que ele já está preconizando naquelas palavras o que veremos, por exemplo, em O Casamento de Maria Braun.

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