Fox and His Friends “Leaving for the Opera” Scene Analysis

Rainer Wener Fassbinder’s Fox and His Friends (1975) provides an exploitative look at the relation between the materialistic upper-class and the blue-collared working class, and, moreover, what happens when that relation is love.


Franz “Fox” Bieberkopf (Fassbinder), an unsophisticated carnival worker is suddenly thrown into an upperclass circle of men after winning 500,000 marks in the lottery. Of these new friends, he begins to date Eugen (Peter Chatel), an unscrupulously wealthy man who, though at first dehumanizes Fox for his proletariate status, pursues him after learning of his newfound wealth. The story of the film follows their relationship as Eugen attempts to polish Fox’s values and behavior, while simultaneously fleecing him of his money for his family’s business.

Fassbinder as Fox (Left) and Chatel as Eugen (Right)

A scene I found particularly interesting and exemplary of Fassbinder’s themes occurs about three quarters into the film. It’s a short scene (only about a minute long, composed of just four shots) but Fassbinder’s direction, writing, and performance gives a holistic image to the film’s message and punctuates the character’s internal positions within the plot at that time.

For context, the scene occurs after Franz and Eugen have been dating a while. They live in an apartment together, which was paid for by Franz as well was its lavish Marie-Antoinette-esque 18th century furnishings. Franz has just willingly signed over this apartment to Eugen as collateral for the expensive mistake he made at Eugen’s father’s company. Up until this point, Eugen has been snide towards Franz’s lack of poise and knowledge, passively aggressively punishing his behavior. Most of which involve Franz’s “uncultured” attitude, Eugen has previously reprimanded or patronized him for not knowing how to read a French menu, not using proper dinner etiquette, and insisting on doing things the “cheaper” way.

The scene I wish to analyze opens with Franz and Eugen at home. Screen Shot 2017-04-02 at 7.08.11 PM.png

Immediately, the mise-en-scéne establishes a growing separation in both their intimacy and behavior. They are facing different directions; Franz in informal clothes (blue jeans that suggest his working-class mindset, and an open vest that signifies his primal sexuality), and Eugen perfecting his dressier attire at a mirror. Eugen’s reflection within the mirror may suggest a duality, or false self, which registers with the viewer who knows he has been disloyal to Franz, and underlines his manipulative tendencies. It’s important to note that the frame within this second persona is one that exudes wealth and ostentation.

Franz is the first to speak: Screen Shot 2017-04-02 at 7.08.15 PM.pngWith one simple line, Fassbinder’s writing and delivery establishes the situation.

  1. Eugen is going to the opera.
  2. Eugen is going to the opera without Franz.
  3. Franz is unhappy about this.

Context is added that ensures the viewer this is unusual. Screen Shot 2017-04-02 at 7.08.18 PM.pngWith Eugen still at the mirror, an added layer of skepticism is associated with his answer.

Screen Shot 2017-04-02 at 7.08.21 PM.pngScreen Shot 2017-04-02 at 7.08.25 PM.pngScreen Shot 2017-04-02 at 7.08.29 PM.pngEugen’s condescension continues as he sits down to file his nails (an act that implies a need for a perfect and, literally, manicured appearance.) The blocking is also crucial to this analysis, as the viewer can clearly see both men, but they physically cannot see each other.

The doorbell rings and Eugen asks Franz to get it. In a way, a small-scale example of how Eugen controls Franz.Screen Shot 2017-04-02 at 7.08.35 PM.png

As Franz gets up to obey the order, he ruffles Eugen’s hair in an affection manner…Screen Shot 2017-04-02 at 7.08.41 PM.pngWhich is met by Eugen fixing it in annoyance. Screen Shot 2017-04-02 at 8.07.25 PM.pngAs Franz answers the door, the shot lingers on Eugen to show his reaction. From off-screen: Screen Shot 2017-04-02 at 8.09.31 PM.pngThough we cannot see who Franz is speaking to, we can assume from the voice and dialog that it is a male character friendly to Fox and Eugen. The camera remains on Eugen until his next retort.Screen Shot 2017-04-02 at 8.18.30 PM.pngScreen Shot 2017-04-02 at 8.20.27 PM.pngWe now see mutual friend Max ascend the stairs into the apartment. As he passes Franz and moves into the foreground, Fassbinder implies that Franz feels, and is seen by these men as, below them.

Screen Shot 2017-04-02 at 8.23.12 PM.png
Franz is (literally) smaller and lower than the two well-dressed men.

We then see Max and Eugen’s conversation from Franz’s (lower) point of view:Screen Shot 2017-04-02 at 7.08.56 PM.png

Once again, Fassbinder establishes a motif of separation. Max and Eugen, both dressed for the opera, converse about their escapade as the stair’s railway acts as a divider between them. Not only that, but the fact that this divider is constructed of bars provides another interesting layer to the scene.

It reinforces how Max and Eugen see Franz. His nickname “Fox” (an animal), makes the bars appear almost zoo-like, and implies that being placed outside of his natural environment as a working man, he serves as entertainment of Max and Eugen. Though cynical, it does, in a sense, foreshadow the films bleak ending, in which Max and Klaus (Franz’s former flame before being arrested, who’s appearance in this scene suggests Max is enticing him into the same dangerous cycle) ignore Franz’s dead body because they don’t want to get involved.

Screen Shot 2017-04-02 at 7.09.04 PM.png
In the same shot, Max looks through the bars at Franz, establishing that this gaze is returned.

In the scene’s final shot Eugen and Max pass Franz as they leave.Screen Shot 2017-04-02 at 7.09.21 PM.png

As the two exit, Fassbinder pulls back to widen the shot and frame this astonishingly complex image that he lets linger for a few long moments:

Screen Shot 2017-04-02 at 7.09.27 PM.png

This is the image that made me want to analyze this scene in particular, because I think it speaks volumes to the viewer about Fox’s current state of character.

In a few words? He’s trapped. Encaged, more accurately. He’s surrounded by bars, unable to fully immerse himself in the exquisite and expensive world that Max and Eugen have forced him into. He’s also been recently trapped situationally; having just signed over the apartment to Eugen and his family in an earnest attempt to help him. However, due to visual clues and dialog, we can assume that Eugen is not as honest as he leads Fox to believe.

There’s a gap in this cage, one we hope Franz will seize before it’s too late. The fact that he does not move, and stays comfortably in the middle of the stairs (neither grounded, nor at the top with his beautiful expensive things), sadly, but accurately implies how the course of the film will play out.

In this unfulfilling middle-ground, Franz, as a rich man, cannot go back to the carnival days that were as repetitious as the ferris wheel ride that turned behind him. At the same time, he remains lower than someone like Eugen who was born into this class, formally intelligent, and savvy to the upperclass lifestyle.

Despite this new wealth, Fox has not come far from his carnival days; still an exhibit for others to marvel at.

Works Cited

Faustrecht Der Freiheit. Dir. Rainer Werner Fassbinder. Perf. Rainer Werner Fassbinder and Peter Chatel. 1975.



One thought on “Fox and His Friends “Leaving for the Opera” Scene Analysis

  1. This is a scene that when I watched the film I found to be a bit unsettling (feeling bad for Fox) but seeing as it is only a minute and a half long I didn’t think to much of. I love how you compare Fox to a carnival or zoo animal. This comparison perfectly reflects now only how we see Fox (earnest, unpolished, primal) but how we see Eugen as well (snobby, perfect, manipulative). After thinking more about this scene, I think the way that Eugen says Fox would be bored at the Opera is even worse than saying he is stupid. Fox knows that Eugen thinks he is stupid already, but by saying Fox would be bored at the Opera is like saying that he is too far below Eugen to find the experience fun even if he doesn’t understand it. This is more insulting to Fox as he feels excluded and caged in while his “friends” are able to leave the bounds of the apartment to engage in a cultural experience.

    Liked by 1 person

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