Anyway, this was posted last week on the other page: re music

Music
The comedic aspects of the passing of the women, the scene with the newspaperman (the new reciipient of Franze),

the dishwater coffee and laughable trumped up quarrel are accompanied throughout by a most ominous music undercurrent, implying that someone will get hurt, perhaps even killed.

Often music is in opposition to the scenes, a Brechtian technique, but in this case, to expand the emotional state, rather than to prevent one.

I was particularly struck by the music on the sound track - the way it changes in relationship to the events and its evocative nature. For example haunting piano music appears to dominate in the romantic and erotic scenes and a jazz score in other situations. Have not really tracked it systematically as I’ve been too engrossed by the movie but would welcome some discussion on the music, and any information on the score, composer etc - is it available too?

hard to say about losing a testicle, a ball,

laughter floats through the room whenever the subject is mentioned

guess that is funnier than losing your gall bladder?

why can’t it be a statement of a physical condition rather than something requiring analysis?

In Doblin, the entire Job - Satan sequence exists solely as dialogue,
the candlelit card game is Fassbinder’s addition

In Doblin we simply read most descriptive passages, few are in quotes.

Biberkopf presents them, as dispassionately as they appear in the book. It isn’t about his understanding them, or ‘ingesting’ them, or even having an opinion about them. He is simply the mouthpiece device through which we get the information as originally presented by Dublin

these are not gossip lines, they are the bits giving us Berlin at that time
inside heads
and out of mind.
No more toxic than life itself

The first time Reinhold appears in the café people in the audience laugh . . . . at what?

Because he may have feminine attributes?
In the book Reinhold is not a handsome character, he is sloppy, shuffles, his socks are always hanging over his shoes.

Biberkopf has always been lost . . his early relationship with Meck may have had some father-son aspects, so when he loses Meck he may feel like he is losing a father. Expresses that idea by asking Meck if he ever lost his father.

The fabric of book and film:
refraction - kaliedescope - reflection - dispersion

all centrality sprinkled into bits and shards
Joyce
dos Passos
Dublin
Virginia Woof
whose head am I in now?

the slaughter house scene - lacks the intensity and vividness, shock, of Dublin. Only scene thus far to be less powerful than the book

Allegory for Franz himself

That lamb (sacrificial?) substituting for Dublin’s calf. To help make his allegorical point?

http://nobelprize.org/nobel_prizes/peace/laureates/1935/ossietzky-bio.html