Still, one can see the coldness and cynicism of these films creeping into the tweaked social realism of Mother Küsters. We’ll never know what could’ve followed this third rebirth, but Fassbinder’s second aesthetic shift produced films a world away from Mother Küsters: the crystalline and impenetrable Chinese Roulette, and Satan’s Brew, the cinematic equivalent of scratch paper (or, less generously, a latrine). Mother Küsters Goes to Heaven comes towards the end of his straightforward kitchen sink/Douglas Sirk period-only Fear of Fear, broadcast one day after Mother Küsters’ contentious theatrical premiere, and I Only Want You to Love Me, would follow before Fassbinder had to reflect and “find a new way to make films again,” as he had with Beware of a Holy Whore and, as he told Wolf Gremm in 1982, he intended to with Querelle. Frau Küsters and her son Ernst (Armin Meier, in his most significant role besides Germany in Autumn) receive the news without emotion, even more like dolls than Fassbinder’s other films, where the staging and blocking almost always leans mannequin.
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“I don’t have much time,” Hermann’s co-worker says, laying the groundwork for all of the people in this movie right before breaking the news that Hermann did, in fact, “go insane” and kill himself and his manager. Then a knock at the door: Emma and her son get up to receive the news we all know is coming. But they all go about their business: Mother Küsters increasingly anxious, her son unworried, her daughter-in-law uninterested.
Mother Küsters asks “is a tire plant a chemical plant?” Héléne snaps, “Everything’s chemicals nowadays,” oblivious to the horror that hits us as soon as Mrs. To be clear, what happens to Brigitte Mira’s Emma Küsters is a story as old as the printing press: at home one evening with her grown son and his bitch wife Héléne (Irm Hermann), while waiting for her husband Hermann, Mother Küsters and her family hear a radio bulletin about a worker in a chemical plant that “suddenly went insane” and killed the son of the manager before killing himself. A Fassbinder box set is necessary: none of them have “dated,” whatever that means at the moment on the contrary, Mother Küsters is so striking because it could be remade today in America with zero revisions, despite its specific political context in mid-1970s Germany. Without a decent home video release (Wellspring’s 2003 DVD is out of print and runs at the wrong frame rate), for now it lives on the Criterion Channel in a restoration one hopes will make it to disc so those without blazing fast Internet can finally see it properly. WAV file format to maintain top-notch audio fidelity.Mother Küsters Goes to Heaven is rarely rated or even mentioned as one of Rainer Werner Fassbinder’s greatest works. It includes the following folders: Booms, Braaams, Drone Loops, Drones, Impacts, Risers, Synth Tones, & Transitions.Īll of the sound effects files are designed to make your life easier, production workflow faster and delivered in high quality 96kHz/24bit. The library is organized neatly into popular categories that make it easier to create outstanding immersive cinematic audio experiences. You get everything you hear in the audio demos minus the movie trailer voices & music background track. Included sounds: suspenseful tension drones, big beefy trailer hits, long & short risers, complex to minimal cinematic whooshes, abstract movie synth tones, hybrid textures, transitions, endless drone loops, braaams & more.
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