Cast overview, first billed only: | |||
Hanna Schygulla | ... | ||
Wolfgang Schenck | ... | ||
Ulli Lommel | ... | ||
Lilo Pempeit | ... |
Frau Briest
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Herbert Steinmetz | ... | ||
Ursula Strätz | ... | ||
Irm Hermann | ... | ||
Karlheinz Böhm | ... |
Wüllersdorf
(as Karl-Heinz Böhm)
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Karl Scheydt | ... |
Kruse
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Barbara Lass | ... |
Polnische Köchin
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Rudolf Lenz | ... |
Geheimrat Rummschüttel
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Andrea Schober | ... |
Annie von Instetten
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Eva Mattes | ... | ||
Theo Tecklenburg | ... |
Pastor Niemeyer
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An Dorthe Braker | ... |
Frau Pasche
(as Anndorthe Braker)
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In the nineteenth century, seventeen year old Effi Briest is married to the older Baron von Instetten and moves into a house, that she believes has a ghost, in a small isolated Baltic town. She soon bears a daughter, Annie, and hires the lapsed Catholic Roswitha to look after her. Effi is lonely when her husband is away on business, so she spends time riding and walking along the shore with Major Crampas. Instetten is promoted to Ministerial Councillor and the family moves to Berlin, where Effi enjoys the social life. Six years later, the Baron is given letters from Crampas to Effi that convince him that they had an affair. He feels obliged to challenge Crampas to a duel and banish Effi from the house. Written by Will Gilbert
Maybe Theodor Fontane does not belong to the outstanding writers of world literature (he would be too provincial for the whole wide world perhaps), but nevertheless, his poetic realism and his sophisticated powers of observation lead his stories to a deep, often radical criticism of social conventions.
That's probably the reason why Fassbinder adopted Fontane's most famous novel "Effi Briest" - to tell the story from the writer's very point of view, as far as possible and to make the social mechanisms of oppression and the assimilation of the individual to that obvious. His concern is already pointed out in the exceptionally long title of the film, which I can imagine is the longest in history and translates something like this: Fontane Effi Briest or: Many who have a notion of their abilities and needs and nevertheless accept the current regime in their minds through their deeds and therefore stabilize and pretty much affirm it
The atmosphere of coldness, of distance (which is, thanks to Fassbinder, at times really excruciating), of alienation is thematised through the cinematic techniques: mirror shots of the actors with a sometimes very blurred camera, misalignment of the camera by statues, flowers or curtains, cross-fades of dialogues and blindingly white fade-outs which sometimes abruptly interrupts a scene. In this sense, Fassbinder tightened Fontane's criticism to a maximum, but he wouldn't be Fassbinder otherwise.