Spokesperson in the sense that much of the descriptive passages of Berlin at that time as made by Doblin Fassbinder has put into the mouth of Biberkopf.
Other descriptive passages are heard as if on a radio, or being read from a newspaper.

It is interesting that in the Job episode in the fourth book it appears just as dialogue between ‘Job’ and ‘Satan’. Interesting that Fassbinder sets it to a candlelit card game.
At its conclusion we see Biberkopf at his lowest, and finally he is told that he must help himself.
Later in subsequent scenes he is much better. Has lost some weight, has positive energy etc. So, are we to conclude that he did? Help himself? If that is the case his character is now even more complex. He may be part beast, but he is not simple.

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 disagree.

I think opening up a space around his identity (to explain his confusional states, his dissociation–the ruptures of a clearly defined subjectivity), as well as to suggest ways he fumbles to find himself in social positions allows for more possibility in understanding his character. The classic problem of the label:the criminal. I’m also curious what you are thinking when you refer to him as a “spokesperson for his era.”

Fassbinder replacing the single calf slaughter by a lamb.

The whole scene is very much allegorical to Biberkopf himself.

I am reading the book simultaneously with the film viewing and it is quite a unique experience. Usually one reads the book first and then is disappointed in the move. I saw the first 3 episodes and then began the book. I was so glad I had done it that way, the book was so enhanced by bringing the film experience to it. It is amazing the thoroughness of the Fassbinder, he obviously was very devoted to it.
Last nights viewing was proceeded by a little reading. The Doblin imagery of the slaughterhouse scenes, first the hogs and then the steer, was excruciatingly vivd, and the film did not come close. This is the first time I have felt that.
The plus about doing the book and the film at the same time, is that you are never in the position of God, i.e. knowing how it is all going to end.

Interesting how eager viewers are to analyze and define the characters. I think that greatly reduces the possibilities of the experience. Attitudes like “He is a real bastard.” “He doesn’t have a sense of his own identity.” etc. really say nothing except about the viewer. Biberkopf is a spokesman for an era, an extremely complex character, man and beast. I prefer not to categorize him at this point, it is like trying to make a line drawing of Everyman.

Working on a piece called Berlin Sanfranciscoplatz which I will probably post on YouTube since I cannot post it here.

and now . . . . back to the book

The use of nursery rhymes in these first 3 episodes is very interesting. Comments?
Also music box sounds. That giant disc of music spinning behind him -