Spoonatects Am i the only one who thinks........Average?

MoPoshy Absolutely brilliant

SpunkySelfTwitter It’s an especially fun movie from a director and cast who are clearly having a good time allowing themselves to let loose.

ActuallyGlimmer The best films of this genre always show a path and provide a takeaway for being a better person.

Horst in Translation ([email protected]) "Warnung vor einer heiligen Nutte" is a West German German-language film from 1971. Director and writer is Rainer Werner Fassbinder and he was still in his mid-20s when he shot this movie. For this age, it is a decent achievement, but it's really difficult to appreciate this film otherwise. Basically, the entire film we watch the cast and crew of a movie and how they spend their time while somehow (not) trying to move forward with their common project. It is a mix of drama and comedy as it is often the case with Fassbinder's films. And once again, he also appears himself in here. Other than him, the cast includes Lou Castel, Eddie Constantine playing himself and also a handful of actors who regularly appear in Fassbinder films, such as Margarethe von Trotta before she focused on directing, Hanna Schygulla, Ulli Lommel and Kurt Raab. I am quite a fan of the latter and there is no denying he was a scene-stealer in here once again as he usually is. His haircut and the once again entertainingly over-the-top approach he gave his character easily made him one of the positive aspects. Funnily enough, the job his character has here is something that he also frequently did in films, also many times for Fassbinder. Raab was much more than an actor. Unfortunately, his portrayal is one of not too many highlight in this film. The first 15 minutes were extremely entertaining, but then it goes south fairly quickly and that's where it stays for the most part. Yes here and there, there are still some entertaining scenes and moments, but for a 100-minute film, it just wasn't enough overall. "Beware of a Holy Whore" is nowhere near my favorite (or least favorite) Fassbinder works and the reason is maybe also that there were just too many characters in it and it becomes confusing if you don't know the actors. I must say I cared very little about their relationships and interactions with each other. Thumbs down, not recommended.

spazyouth Nearly all of the reviews I have read about this film mention its "dullness" or "boredom". Someone compared him with Truffaut earlier, I think it is important to remember that although Fassbinder was certainly influenced by French New Wave, he was essentially a German film-maker with a completely unique approach to his work. So, if u find his films boring because you are expecting to watch another Jules et Jim, then I think u set yourself up for disappointment. I think the slow pace of the film re-creates an environment (namely the filming of the previous Fassbinder film, whitey) and achieves its purpose masterfully, combining all the sexual, emotional,and mental frustration of making a film.

zetes Fassbinder's wry comedy about the trials and tribulations of filmmaking. It's gorgeously shot and very well acted (especially by Fassbinder himself and Lou Castel, who plays the director), but, truth be told, a bit on the dull side. I guess most of Fassbinder's early films are a little dull. Only fans will want to pursue them. There is plenty to like, though. The best element of the film seems to be lost on all those whose reviews I've read. The film is set mostly in an opulent Spanish hotel, and, at least for one sequence, it lapses into a deft parody of Resnais' Last Year at Marienbad. I think that, if I tried to describe it, my explanation would be too wordy and would not convey it well enough. So, if you ever do happen to watch the film, make sure to keep an eye out for that joke. 7/10.

matt-201 Fassbinder wasn't known for comic hijinx (if you've sat through SATAN'S BREW, you'd remember it), but probably the most sheerly pleasurable of all his movies is this rather premature but quite welcome self-parody.The maestro's Bavarian-slob ripoff of Warhol's Factory is keenly lampooned in this oh-so-languid art-movie take on TWO WEEKS IN ANOTHER TOWN. Fassbinder plays a grubby and wildly sadistic producer holed up in a half-swanky, half-tatty seaside hotel with half a movie in the can and no finishing funds. That's the Beckettian setup for a lobby full of achingly sexy and heroin-esque Fassbinder heroines, pretty boys getting their feelings hurt, drinks swallowed and thrown, and a lot of people getting yelled at in public. If that sounds like par for a familiar course, the difference is that here it's all played for yuks--but with such an exquisite deadpan you can practically hear R.W.F. smothering his guffaws behind the camera.