Matcollis This Movie Can Only Be Described With One Word.

CrawlerChunky In truth, there is barely enough story here to make a film.

AshUnow This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Zandra The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Perception_de_Ambiguity * For people who haven't seen the film I recommend skipping the first part of the comment to start reading right at - The Style - * What's noteworthy is how much more this relatively early Fassbinder has in common with his later films such as the BRD trilogy than with anything he did before. For example the fact that the main character is trying to integrate into a family/society against all odds, with fatal consequences. Not only do those families/societies reject the main characters of the RWF films in question, but those systems turn out to be miserable and integration into them turn out to be undesirable. The propagated Weltanschauung is downright pessimistic, with no realistic hope anywhere in sight.So the movie's title character Whity is trying to integrate, even to the point of lacking much of a personality. He doesn't care if he is black or white, or even straight or gay, he just wants to be a part of something that is bigger that himself.The Themes - Interestingly the film doesn't seem to be much concerned with racial issues. I don't see Whity to be representative of the black man in America, but rather it uses a black man in the West as an example of slavery and a man who tries to integrate into a system that doesn't want him for superimposed reasons, all the while he is more competent than most other people around him.The (white) members of the Nicholson family all have makeup that makes them look sickly pale, which could be to empathize those people's degeneration, compared to Whity. They are free, he is not, they have power, he hasn't, purely because of superficial reasons and not because they are actually stronger.What's also important is the capitalism versus love theme. In the family everyone is ridden by greed, money is their biggest concern and this reflects their decadence. Whity doesn't have much desires at all, he is the best example of happiness in slavery. He doesn't know a better life, so he is satisfied with his position. That was until he found love. It's partly through this love that he realizes the degenerated state of his family (the Nicholsons) and it's love that is enough of a substitute that it makes him want to radically leave behind his family in the end.But the movie doesn't give a solution for Whity's tragic situation, in the end he leaves the system that he fought to be a part of all along, just to go into the vastness of the desert (a non-system, if you will, a place where money and power doesn't matter), just to die, suggesting that there in fact is no solution, other than death. This is why I find the film to be extremely pessimistic. Whity has found love, but not only is it not considered a solution, but it implies that there is none, by Whity consciously deciding to end his life, basically.The Style - As for the style, obviously the film is much more inspired by Spaghetti Westerns than by American ones, which starts with the opening credits with the names flying towards the audience, and continues with the intentionally slow-paced nature of the film, its melancholic atmosphere, and the exaggerated ambient sound. In fact, it's directly reminiscent of Leone, but the big difference is the small scale of RWF's film. I found the slow pace more tedious than anything else. It's too much of an imitation and not enough its own thing.As good as Ballhaus' camera work is on its own, the concept of frozen subjects captured in fluid images doesn't work well if there is little (appropriate) content to back it up, not to mention that this is pretty much the opposite of Leone's cinematography, which is mostly rigid camera where even the smallest protagonist movement looks epic. If Leone's camera moves it is to follow the protagonist, not to pan to another protagonist. He fearlessly employed a cut to show another character, which made every character the star of his own shot.The Resume - Although the film certainly isn't devoid of appealing themes, the way it is I can't say that it tells an interesting story. Apart from Whity all the characters are just too empty, they are just pawns in Whity's story, which wouldn't be as bad if there weren't so many scenes in which he isn't much more than a spectator or isn't even present.As implied before, the content simply doesn't lend itself to a Leonesque Western. A Leone Western lends itself to strangers being unpredictable, danger-laden atmosphere and situations, and gunslinging, it doesn't lend itself to internal family affairs, everyday life and character studies. I would consider 'Whity' a failed experiment, Fassbinder's story-telling sensibilities combined with an imitation of Leone's style is a system into which integration is undesirable.

MisterWhiplash I barely got through this movie, this kind of half-western half super-dark satire on racism and slavery that makes Bamboozled look like Fraggle Rock... So why the high rating? Possibly just because there's nothing else quite like it. It's about a slave, dubbed Whity by his master/family for his propensity for 'sucking up' (Günter Kaufmann, a frequent actor in Fassbinder's stockade of sorts, who I still can't tell whether or not he's actually a good actor or appears to be so), and his master (Ron Randell) and his family, which includes a wife and two children, one retarded and one homosexual, and there are sometimes very strange requests or orders- like killing other members of the family for things like obvious adultery or the murder by the master of said adulterer (I think that's what happened at one point).One of the things about the movie that's just totally weird, and yet very weirdly effective, is that the slave owner and family have white make-up put over their already white faces (again, the inverse of Bamboozled, only here not so smug about it being "hey, it's satire!"), and that all of the characters- save maybe for a few minor characters or a supporting one like the saloon singer who falls for Whity- have an affected way of speaking, deliberate like everyone is under some strange spell. What is it all a symbol for? I think, maybe, that racism is so ugly and horrible a thing one can barely ever capture how it affects everyone around them, white or black (the only somewhat down-to-earth figure, Whity's mother played very convincingly by Elaine Baker, is all too brief in the mix for a reason). Fassbinder uses the backdrop of the old west, of a kind of fragmented version of it (he uses sets from other movies, intentionally I'd wager), where this savage but almost meditative story can take place.Whity shouldn't be something to see right away if you're just getting into Fassbinder - since I'm one of them, I can attest to it being a difficult film - but there's a power about it, some really unique pull to it in some scenes (watch when Whity asks the retarded boy to come over the comb the horse, very tense, erotically so but cruel), that it's hard not to find it at some point if you become an admirer of the prolific German's oeuvre. I'm not even sure I would watch it again, but I know I didn't exactly regret the chance at witnessing risky art.

ALauff Seemingly a triumphant parable about a slave's emancipation from a cruel, inbred patriarchy, Fassbinder's outré Spanish Western employs a unique hybrid of incisive, scabrous character examination, eerie stretches of silence, and a deadpan editing scheme that makes empathy desirable but never attainable. The eponymous character is the son of despotic aristocrat Ben Nicholson, whose children look and behave like grotesque zombies (their faces are caked with a putrid green sheen of powder), whose wife is a sexually manipulative hussy, and whose one-time mistress (and Whity's mother) is the other servant in the house, a proud anthem-singing woman whose charcoal-darkened face renders her an indistinguishable void.This artificial hue also serves as a contrast to Whity (Günter Kaufmann), who is caught between fealty to the father and his tradition of old money, and his mother's tradition of slavery. In the film's first scene, Whity tells his mother that "black music" isn't welcome in the house; she responds by spitting in his face and derisively labeling him "Whity." Such an extreme example of stratification illustrates Whity's dual identity and his confusion about how he'd like to be perceived. The mother's rebuke is especially cruel when one considers her role in his figurative schizophrenia (copulating with her white master) and the selfsame compromise of racial identity inherent in his conception.There are further signs of ambiguity: he dresses to the specifications of his masters, looking the part of an Uncle Tom in the opening tilt shot, which pans slowly up Whity's body from his spit-shined shoes to his immaculate red dust jacket; he proudly pledges his gratitude after severe beatings; and he may be romantically involved with Nicholson's disabled son. Whity's brutal turn in the final sequence, in which he methodically executes the entire family, is a particularly definitive choice of identity, though hardly, from an outside perspective, one of vindication or clarity given Whity's contrary choices (or are they necessities of survival?) throughout the film. Like the other two Fassbinder films I've seen—The American Soldier and Rio Das Mortes—character motivations, intentions, and actions are anything but clear-cut, and the director is prone to self-amusing stretches of bizarre revelry. But also similar to those films is a sense of spontaneity and social conscience along with an analytical rigor that reminds me of a less-polished and less self-regarding Godard. If his later films are equally resistant to the cinema of spectacle (of which the closest he's come is the extraordinary ending to The American Soldier), I may yet come to fully appreciate this most enigmatic auteur.

Itchload I recently watched the DVD of "Whity", Fassbinder's German Western. After seeing it, the fact that all the character's speek German despite the Spanish locations didn't seem out of tune at all with the overall movie. For the record the commentary on the DVD is one of the greatest I've heard. However, Ulli Lommel and Michael Ballhaus both agree that this is Fassbinder's 5th movie. That would mean this amazingly photographed, sweeping epic--which boasts by far the best production designs of any of Fassbinder's first movies--followed the crude looking excruciating black comedy "Why Does Herr R. Run Amok?" I find this a bit hard to believe. Judging by the fact that Lommel and Ballhaus make a few factual mistakes (this was not the first Fassbinder movie with Günther Kaufmann, "Gods of the Plague" was), maybe they're a bit off. My guess is probably number 8 or 9. If it is number 5, that's amazing.Anyhow, this is easily the most polished of Fassbinder's first movies. It's also probably up there with "The American Soldier" in terms of perverse bizarreness. You'll find lots of flaggelating, KKK, incestual undertones, homoerotism, prostitutes, bleached eyebrows and eyelashes, bad hair, greenish-white cakey makeup, and some severe mental retardation all in these frames. The odd thing is, none of it seems to be played for laughs, which only adds to the perversity. Fassbinder thought this movie was so personal to him that he didn't want anyone else to see it, or any movie theaters to show it.Also of note, the ending of this movie is highly unusual for Fassbinder. No suicide, no crying, no corpses? I guess for the final shot, Fassbinder had his convertable engine running so he could drive off forever into the distance the second it was completed. It just seems directors don't have that type of dedication or personal anguish attached to their movies anymore. All the more reason to keep watching Fassbinder's I guess.