The Merchant of Four Seasons, 1971, Rainer Werner Fassbinder
If you can say one thing about Fassbinder’s films, you can say that he was adept at portraying and processing human feelings. These were usually negative human feelings. For example in The Bitter Tears of Petra Von Kant, he explored vanity and loneliness, whereas in Ali: Fear Eats the Soul, he explored isolation and rejection. There are many other examples, such as Fear of Fear, which is a lesser-known Fassbinder that captures anxiety better than any film I’ve ever seen. With The Merchant of Four Seasons, the emotion that he captures is depression.
I’ll be honest that depression is something I don’t understand. Sure, I’ve had bad days and been down in the dumps. Who hasn’t? I’ve known people that have been depressed, and I’ve had a tough time connecting with them. One friend sent me this cartoon link from Hyperbole and a Half, which helped me understand depression to a certain extent. I can never understand it as well as people like this friend or (likely) Fassbinder experienced it, but a film like The Merchant of Four Seasons gets me closer.
As fair warning, this is a film that requires spoilers to discuss properly. If you haven’t seen the film or are spoiler sensitive, then I would not read this entire post.
The character of Hans is a disappointment to most in his life. When he returns from the military, after finding out that someone else did not make it home, his own mother says, “the best are left behind while people like you come home.” We learn later that his military career ends with a sexual transgression. He then becomes a cart merchant, peddling fruits for a small profit in order to support his wife and daughter. When he isn’t working, he drinks with his friends and does not want to be disturbed. In one pivotal scene, when his wife Irmgard (Irm Hermann) demands that he come home, he throws a chair at her. Later, when questioned, he beats her.
His family scorns him and thinks of him as a disappointment. They shun him after the case of abuse, siding with his wife while he beckons her to come back. The only person in his corner is his sister Anna (Hanna Schygulla), yet she has a minor role and is mostly ignored. When we see the family on screen, they serve the purpose of reminding us how worthless Hans is in their eyes. It’s no wonder that he feels such helpless despair.
Hans suddenly has a heart attack, and is forced to stop drinking and is not allowed any heavy activity. Given his prior anguish, one would think that this would push him further into depression, but the opposite happens. He takes on the role of proprietor, hires a productive employee, and enjoys profits. In a later scene, his family is surprisingly pleased with him. In their eyes and his, he has succeeded as a cart merchant.
Things come tumbling down due to another theme among the primary characters – weakness, especially in terms of their sexual proclivities. Han’s weakness with an admirer is what ruins his military career. In an early scene, he delivers fruit to an woman and is chastised by his jealous wife for spending seven minutes with the woman. We learn later that there is a hint of an affair happening at some point, which possibly happened off-screen during these early scenes. While in the hospital, Irmgard has an affair of her own with a taller, more masculine man. That man coincidentally ends up becoming Hans’ successful salesman. In my opinion, this was too coincidental, but it was a necessary plot development to take Hans further down in his slide.
Irmgard is a confounding character. She rekindles her relationship with Hans, even when he is employing her former, temporary lover. It is in this period that his depression begins to take shape again. Even before he discovers the truth, which comes up after he catches him skimming money from his sales, a strategy in which Irmgard suggested. She is the mystery. Fassbinder usually portrays women as strong and sympathetic characters, but Irmgard makes some baffling decisions. At times she seems to want to undermine Hans, while at others, like in the image above, she is saddened by his downfall.
Hans’ depression reaches such a low that he decides he wants to die. We learn through flashback that this is not the first time he’s reached this low of a feeling. When being whipped by an enemy soldier, he faces certain death, only to be rescued at the last minute by fellow soldiers. Rather than thank them, he asks them, “why didn’t you let me die?”
The final drinking scene is the culmination of the burdensome weight of all those who he has disappointed, including himself. Because of his health condition, he holds the gun that will decide his fate. He commits his suicide with bitterness and no regret. He even dedicates each shot to a certain someone who has wronged him. This is his way of getting back at the world.
Film Rating: 7/10
Commentary – Wim Wenders, 2012.
Wenders talks about how it is unusual to comment on a film from a friend and colleague that died 20 years ago. He gives a commentary you would expect from Wenders. He speaks slowly and relaxed. He is not the type to comment or analyze every little scene. Even though I like analytical commentaries, I also like this type because it is more like you are watching the film from a friend.
- Fassbinder did everything himself, including writing, directing, sometimes acting, editing, sometimes producing. Working on so many projects as Fassbinder did required him to be working on the next one while he was finishing the last one. Wenders says that the speed in which he worked would eventually kill Werner.
- Wenders loves film, and he especially loved Hans Hirschmüller so much that he cast him in Alice in the Cities.
- He had such a strong ensemble that he would often cast his major actors in small roles. Hanna Schygulla and Kurt Raab are examples here. Of course Schygulla, in Wenders words, would “become one of the major stars of German cinema.”
- Back then, selling fruit off a cart was a real Bavarian profession. He points out the fact that the people speak with a distinct Bavarian accent, but that does not come across with subtitles.
- Prior to the German New Wave, the most successful German films were either Westerns or softcore porn. This direction into character-based melodramas was a major shift. They learned their craft from American films.
- He talks about the New German Cinema experience. They were not in each other’s way, had nothing in common, different perspectives, different missions. They helped each other, had no envy, shared cast and crew. Fassbinder was way ahead of them. By this time, Wenders had only made two short films. They were not bound by a cultural aesthetic, and never discussed content, style, but more about distribution, projects, etc.
Irm Hermann: 2015 interview.
She had no formal training, but got lucky when she met Fassbinder and he pulled her off of an office desk and put her in front of a camera for The City Tramp. He quit her job for her. Fassbinder was charismatic and started in the theater. She had no training save for how Fassbinder trained her. She didn’t want to do the sex scene, but Fassbinder was discrete and sent everyone out of the room. She is grateful for the film because of the Douglas Sirk-like close-ups. Her and Hirschmüller won German Awards, as did the film. and that was a major deal.
Hans Hirschmüller: 2015 interview.
The role of Hans was written with him in mind. Fassbinder wanted someone down to earth and simple, which was really what he was at the time. He knew the types of merchants that he would play. Fassbinder didn’t tell him anything about the role. He just made him read the script, and asked if he approved.
They did not often do multiple takes. Usually one or two, sometimes three, but very rarely four. Rehearsal is when they would improvise, never during the scene.
It was a tough role for him because he had to face death like he never had in his personal life. He had trouble getting to the position of being helpless. The scenes where he was depressed were the toughest for him.
Eric Rentschler: Interview with film historian and professor at Harvard.
This was the film that put Fassbinder on the map. Reviews were overwhelmingly positive. Some said it was the best film to come out of Germany in years. Fassbinder had been working productively prior to this, but his rise out of Merchant was meteoric. Early films were bleak and resembled neo-noir. You could tell that Fassbinder was a student and fan of film.
Fassbinder is good at showing what character’s are capable of, both good and bead. Irm Hermann is an example of this because she has adultery and is planning on leaving her husband on one occasion, yet adores him in other occasions.
The film was based on his uncle, who had fallen from a high position and ended up as a fruit salesman.
Criterion Rating: 8/10
Posted on July 8, 2015, in Criterions, Essays and tagged criterion, criterion collection, depression, film, Hanna Schygulla, Hans Hirschmüller, Irm Hermann, rainer werner fassbinder, wim wenders. Bookmark the permalink. 4 Comments.