Watch Despair For Free

Touches You

Simply Perfect

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties. It's a feast for the eyes. But what really makes this dramedy work is the acting.

What can I say -- watch the film. And don't read the other posters comments -- he didn't like the film, or even bother finishing it but felt compelled to make a list of pointless spoilers in his useless comments.This was Fassbinders shot at 'commercialism', which he failed at entirely (thankfully) but we are left with a thoughtful examination of the boundaries between self awareness and delusion. A metaphor for post war Germany? Who am I to be so pretentious ...Strong performances, provocative script, not a light romp but neither is it a heavy slog. CC

As the owner of a chocolate factory, Hermann Hermann (Dirk Bogarde) enjoys all the luxury of a high-style bourgeois life, but in reality, it shows up merely as a facade, because his factory stays before bankruptcy, and his wife Lydia (Andréa Ferréol) has a liaison with her brother-in-law, the painter Ardalion (Volker Spengler). Hermann Hermann starts to doubt everything, and eventually he realizes, that this bit of life, that lies still before him, will be wasted in any case to a hopeless struggle against these doubts. His meeting with the sleeping hobo Felix Weber (Klaus Löwitsch) as a picture of the death can be seen as birth of the idea to stage a sudden accident, in order to cash a high sum of insurance money. In exchanging his outer appearance, Hermann Hermann believes to be capable of transcending the borders of his life and to be able to start a new one. Hermann Hermann has a totally emotionless relation to the death, because it is the death of the other and for him a necessary act to commence a new life. The radical moment lies in the fact of the penetration into another life, whose border to one's own life is a big as the border between the Here and the Beyond.The whole movie is characterized by objects and persons, who have their counterparts and mirror images, respectively. For Fassbinder, glass walls were borders, through which one could look through form the one side and which were opaque from the other. While the mirrors in Nabokov's novel stay opaque, Fassbinder creates with his glass labyrinths transparency, allows the sight into the Beyond, and dissolves the hermetic presentation. "Despair" produces a visual bridge between the two worlds: In Fassbinder's film, the borders between the Here and the Beyond start to merge into one another, while Nabokov underlines the closeness of both worlds. Not only is Hermann Hermann himself observing subject, but he is also the object of observation. In view of this perception, the world, in which there is no border anymore between subject and object turns strange and menacing. With the disappearance of the projected Ego also the process of self-dissolution announces itself, that ends with the real Ego being at the end not anymore identical to itself and the dissociation of the personality being complete. But Hermann Hermann's plan fails, because his fatal idea of the similarity between him and Felix Weber is at last the product of his sick fantasy. The hero is becoming the victim of his own deformed perception. Sitting in a hotel room, he finally writes his own story. At the end, the "trip into the light", as the German title of the movie is named, ends with the darkness of Hermann Hermann's mind in a bright Alpine mountain village, when he gets fully insane and considers the reality to be a movie, whose director he is and whose acting he is able to control.There can be no doubt, that this is not only Fassbinder's best movie, but one of the top ten movies made ever. Rating: 10 Points.

Shot in English on a budget that nearly equaled the cost of his first fifteen films, Rainer Werner Fassbinder's Despair has wit and style yet its attempt to recreate the dark, comedic genius of Vladimir Nabokov left me unmoved and uninvolved. Based on Nabokov's novel Despair (apparently intended as a parody of Dostoevsky), and adapted for the screen by Tom Stoppard, the film describes the descent into madness of wealthy chocolate entrepreneur Hermann Herman (Dirk Bogarde). Set in Germany on the eve of the Third Reich, scenes of the Nazis assaulting Jewish-owned businesses are sprinkled throughout the film but to no apparent purpose. Herman has left his Russian home to live in Berlin and constantly fantasizes about the beauty of the Russian winters and whispers `Russia, which we have lost forever...' to his wife, Lydia (Andrea Ferreol). He is a thoroughly unsympathetic character: cold, calculating, and cynical and Mr. Bogarde's exaggerated mannerisms do not make him any easier to appreciate. Much of the film takes place inside Herman's stately bourgeois home. Shots of the characters through glass partitions keep the viewer at a distance and the elegant interiors look like an abandoned mausoleum. Lydia's and Herman's relationship is unconvincing and Fassbinder's repeated descriptions of Lydia as an unintelligent sex object border on misogyny. "The flowers of your sensuality would wilt with intelligence," Herman tells his wife whom he always addresses with condescension. In addition to Lydia, we gradually meet other vivid supporting characters: Lydia's cousin, Ardalion; and Dr. Orlovious, an insurance salesman whom Herman mistakenly thinks is a psychiatrist and opens up to. Herman is convinced that Felix Weber (Klaus Lowitch), a laborer, resembles him as closely as "two drops of blood." though the resemblance is tentative at best (a joke Nabokov wisely saved for his readers until the end of his novella). He has an odd compulsion to observe himself as a stranger and devises a plan to commit the perfect crime, exchanging identities with the worker as a means of escaping his existence. Felix, on the other hand, decides to humor the eccentric Herman with the thought of getting a job. In Despair, Fassbinder constructs a world in the process of falling apart where people march inexorably toward self-destruction and where the journey into light proves to be an illusion. In a world approaching madness, however, Hermann seems to fit perfectly -- no more, no less crazy than the insanity occurring around him.

This is one classic I was in no mood for at the time of watching it. In the right mood, I suppose even the most boring, confusing and pretentious films can appear lively and spirited.Hermann is a Russian living in Germany with his completely idiotic Russian wife whose only talent is letting him bang her. Whereas even this right isnt exclusive since she is also carrying on with her red-headed bohemian slob of a cousin. Here is the weird part -Hermann keeps seeing himself everywhere, in particular watching he and his wife having sex. He mistakes this for out of body experiences, or split personality and does nothing to help himself out of it, instead entertaining and even encouraging it. Soon he begins to see his own face in other people. He befreinds a tramp who he believes is his look-alike and convinces him to be his body double to create an alibi while he is committing a crime. He dresses him up in his clothes, puts his papers in his pocket and gives him a shave -then he shoots and kills him. Hermann runs away with the understanding he has staged his own death. Obvious to everyone else is that it wasnt him at all, as his passport photo and the dead mans face don't even remotely resemble each other.To be perfectly honest I tuned out of the dialogue after this point and only occasionally glanced at the screen. Despair was not improving, resulting in a complete waste of time. From what I saw it only gets weirder but perhaps with concentration it might begin to fall together. I like bizarre films, and even pretentious ones sometimes. Despair was just too damn over-dramatised or something. I just felt like the guy was digging his own grave and then constantly bitching about it like it was someone elses fault.Yes, the acting was good, but sorry, the characters sucked.