Rainer Werner Fassbinder
Rainer Werner Fassbinder

Celebrity Profile

Name: Rainer Werner Fassbinder
Occupation: Writer
Gender: Male
Birth Day: May 31, 1945
Death Date: 10 June 1982(1982-06-10) (aged 37)
Munich, West Germany
Age: Aged 37
Birth Place:  Bad Wörishofen, Bavaria, Germany, Germany
Zodiac Sign: Gemini

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Weight: in kg - N/A
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Rainer Werner Fassbinder

Rainer Werner Fassbinder was born on May 31, 1945 in  Bad Wörishofen, Bavaria, Germany, Germany (37 years old). Rainer Werner Fassbinder is a Writer, zodiac sign: Gemini. Find out Rainer Werner Fassbindernet worth 2020, salary 2020 detail bellow.

Does Rainer Werner Fassbinder Dead or Alive?

As per our current Database, Rainer Werner Fassbinder died on 10 June 1982(1982-06-10) (aged 37)
Munich, West Germany.

Net Worth

Net Worth 2020

Undisclosed

Salary 2020

Not known

Biography Timeline

1945

Fassbinder was born in the small town of Bad Wörishofen on 31 May 1945. He was born three weeks after US Army occupied the town and the unconditional surrender of Germany. The aftermath of World War II deeply marked his childhood and the lives of his family. In compliance with his mother's wishes, Fassbinder later claimed he was born in 1946, to more clearly establish himself as a child of the post-war period; his real age was revealed shortly before his death. He was the only child of Liselotte Pempeit (1922–93), a translator, and Helmut Fassbinder, a doctor who worked from the couple's apartment in Sendlinger Straße, near Munich's red light district. When he was three months old, he was left with a paternal uncle and aunt in the country, since his parents feared he would not survive the winter with them. He was one year old when he was returned to his parents in Munich. Fassbinder's mother came from the Free City of Danzig (now Gdańsk, Poland), whence many Germans had fled following World War II. As a result, a number of her relatives came to live with them in Munich.

1951

Fassbinder's parents were cultured members of the bourgeoisie. His father mainly concentrated on his career, which he saw as a means to indulge his passion for writing poetry. His mother largely ignored him as well, spending the majority of her time with her husband working on his career. In 1951, Liselotte Pempeit and Helmut Fassbinder divorced. Helmut moved to Cologne while Liselotte raised her son as a single parent in Munich. In order to support herself and her child, Pempeit took in boarders and found employment as a German to English translator. When she was working, she often sent her son to the cinema to pass time. Later in life, Fassbinder claimed that he saw at least a film a day, sometimes even four a day. During this period, Pempeit was often away from her son for long periods while she recuperated from tuberculosis. In his mother's absence, Fassbinder was looked after by his mother's tenants and friends. As he was often left alone, he became used to the independence and thus, became a juvenile delinquent. He clashed with his mother's younger lover Siggi, who lived with them when Fassbinder was around eight or nine years old. He had a similar difficult relationship with the much older journalist Wolff Eder (c.1905–71), who became his stepfather in 1959. Early in his adolescence, Fassbinder came out as homosexual.

1963

In 1963, aged eighteen, Fassbinder returned to Munich with plans to attend night school with the idea to eventually study drama. Following his mother's advice, he took acting lessons and from 1964 to 1966 attended the Fridl-Leonhard Studio for actors in Munich. There, he met Hanna Schygulla, who would become one of his most important actors. During this time, he made his first 8mm films and worked as assistant director, sound man, or in small acting roles. During this period, he also wrote the tragic-comic play: Drops on Hot Stones. To gain entry to the Berlin Film School, Fassbinder submitted a film version of his play Parallels. He also entered several 8 mm films including This Night (now considered lost), but he was turned down for admission, as were Werner Schroeter and Rosa von Praunheim who would also have careers as film directors.

1967

Fassbinder joined the Munich Action-Theater in 1967; there, he was active as actor, director and scriptwriter. After two months he became the company's leader. In April 1968 he directed the premiere production of his play Katzelmacher, which tells the story of a foreign worker from Greece who becomes the object of intense racial, sexual, and political hatred among a group of Bavarian slackers. A few weeks later, in May 1968, the Action-Theater was disbanded after its theater was wrecked by one of its founders, jealous of Fassbinder's growing power within the group. It promptly reformed as the Anti-Theater under Fassbinder's direction. The troupe lived and performed together. This close-knit group of young actors included among them Fassbinder, Peer Raben, Harry Baer and Kurt Raab, who along with Hanna Schygulla and Irm Hermann became the most important members of his cinematic stock company. Working with the Anti-Theater, Fassbinder continued writing, directing and acting. In the space of eighteen months he directed twelve plays. Of these twelve plays, four were written by Fassbinder; he rewrote five others.

1969

After he made his earliest feature films in 1969, Fassbinder centered his efforts in his career as film director, but maintained an intermittent foothold in the theater until his death. He worked in various productions throughout Germany and made a number of radio plays in the early 1970s. In 1974 Fassbinder took directorial control over the Theater am Turm (TAT) of Frankfurt; when this project ended in failure and controversy, Fassbinder became less interested in theater.

Shot in black and white with a shoestring budget in April 1969, Fassbinder's first feature-length film, Love Is Colder Than Death (1969) (Liebe ist kälter als der Tod), was a deconstruction of the American gangster films of the 1930s, 1940s and 1950s. Fassbinder plays the lead role of Franz, a small-time pimp who is torn between his mistress Joanna, a prostitute played by Hanna Schygulla, and his friend Bruno, a gangster sent after Franz by the syndicate that he has refused to join. Joanna informs the police of a bank robbery the two men have planned. Bruno is killed in the shootout, but Franz and Joanna escape.

The last of the four films Fassbinder shot in 1969, was his first in color, Why Does Herr R. Run Amok? (Warum läuft Herr R. Amok?). It was co-directed by Michael Fengler (the friend who had been his cameraman on the short film The little Chaos in 1967). Only the outlines of the scenes were sketched by Fassbinder. Fengler and the cast then improvised the dialogue. Fassbinder asserted that this was really Fengler's work rather than his. Nevertheless, the two were jointly given a directorial award for the project in the 1971 German Film prize competition, and Why Does Herr R. Run Amok? has always been considered among Fassbinder's films.

In 1969, while portraying the lead role in the TV film Baal under the direction of Volker Schlöndorff, Fassbinder met Günther Kaufmann, a black Bavarian actor who had a minor role in the film. Despite the fact that Kaufmann was married and had two children, Fassbinder fell madly in love with him. The two began a turbulent affair which ultimately affected the production of Baal. Fassbinder tried to buy Kaufmann's love by casting him in major roles in his films and buying him expensive gifts.

1970

In The Niklashausen Journey [de] (Die Niklashauser Fahrt), Fassbinder co-writes and co-directs with Michael Fengler. This avant-garde film, commissioned by the WDR television network, was shot in May 1970 and it was broadcast in October the same year.The Niklashausen Journey was loosely based on the real-life of Hans Boehm, a shepherd who in 1476 claimed that the Virgin Mary called him to foment an uprising against the church and upper classes. Despite a temporary success, Boehm's followers were eventually massacred and he was burned at the stake. Fassbinder's intention was to show how and why revolutions fail. His approach was to compare the political and sexual turmoil of feudal Germany with that of the contraculture movement and the protests of 1968. Fassbinder did not clarify the time frame of the action, mixing medieval elements (including some costumes, settings, speech and music) with those from other time periods, like the Russian Revolution, the Rococo period, postwar Germany and the Third World.

Based on an idea by Volker Schlondorff, Rio das Mortes was shot in January 1970 following Why Does Herr R. Run Amok?, but was broadcast on television a year later in February 1971. The film feels casually constructed; the humor is bland and the plot has been criticized for its sloppiness and poor character development. Rio das Mortes is best remembered for a scene unrelated to the plot, as the girlfriend, played by Schygulla, dances to Elvis Presley's "Jailhouse Rock" on the jukebox in the company of an oafish leather-jacketed youth, played by Fassbinder.

Shot in November 1970, Pioneers in Ingolstaldt was commissioned for television. Fassbinder wanted to bring the plot from the 1920s to contemporary Germany, but the producers, fearing to offend the German army, refused. A compromise did not satisfy any of the parties, and midway through the project Fassbinder lost interest in it. The film suffered as a consequence, and it ranks among Fassbinder's weakest films.

Although he claimed to be opposed to matrimony as an institution, in 1970 Fassbinder married Ingrid Caven, an actress who regularly appeared in his films. Their wedding reception was recycled in the film he was making at that time, The American Soldier. Their relationship of mutual admiration survived the complete failure of their two-year marriage. "Ours was a love story in spite of the marriage", Caven explained in an interview, adding about her former husband's sexuality: "Rainer was a homosexual who also needed a woman. It's that simple and that complex." The three most important women of Fassbinder's life, Irm Hermann, Ingrid Caven and Juliane Lorenz, his last partner, were not disturbed by his homosexuality.

1971

In 1971 through 1977, his films brought him international attention, with films modeled, to ironic effect, on the melodramas Douglas Sirk made in Hollywood in the 1950s. In these films, Fassbinder explored how deep-rooted prejudices about race, sex, sexual orientation, politics and class are inherent in society, while also tackling his trademark subject of the everyday fascism of family life and friendship.

In 1971, Fassbinder began a relationship with El Hedi ben Salem, a Moroccan Berber who had left his wife and five children the previous year, after meeting him at a gay bathhouse in Paris. Over the next three years, Salem appeared in several Fassbinder productions. His best-known role was as Ali in Ali: Fear Eats the Soul (1974). Their three-year relationship was punctuated with jealousy, violence and heavy drug and alcohol use. Fassbinder finally ended the relationship in 1974, due to Salem's chronic alcoholism and tendency to become violent when he drank. Shortly after the breakup, Salem stabbed three people (none fatally) in Berlin and had to be smuggled out of Berlin. Salem eventually made his way to France where he was arrested and imprisoned. He hanged himself while in custody in 1977. News of Salem's suicide was kept from Fassbinder for years. He eventually found out about his former lover's death shortly before his own death in 1982 and dedicated his last film, Querelle, to Salem.

1973

Fassbinder first gained international success with Fear Eats the Soul (Angst essen Seele auf, 1974). This film was shot in fifteen days in September 1973 with a very low budget, ranking among Fassbinder's quickest and cheapest. Nevertheless, the impact on Fassbinder's career and in overseas release remains cemented as a great and influential work. It won the International Critics Prize at Cannes and was acclaimed by critics everywhere as one of 1974's best films.

1975

Gay critics also complained of misrepresentation in Fox and His Friends. Conservatives attacked him for his association with the radical left. Marxists said he had sold out his political principles in his depictions of left-intellectual manipulations in Mother Küsters' Trip to Heaven and of a late-blooming terrorist in The Third Generation. Berlin Alexanderplatz was moved to a late night television slot amid widespread complaints that it was unsuitable for children. The most heated criticism came for his play Trash, the City, and Death, whose scheduled performance at the Theater am Turm in Frankfurt was cancelled early in 1975 amid charges of anti-semitism. In the turmoil, Fassbinder resigned from his directorship of that prestigious theater complex, complaining that the play had been misinterpreted. The play is about an unscrupulous and very greedy Jewish businessman in Frankfurt who ruthlessly uses German guilt over the Holocaust to make himself rich. Though published at the time, and quickly withdrawn, the play was not performed until five years after Fassbinder's death by Thieves Theatre in 1987 at ABC No Rio.

1976

By 1976, Fassbinder had gained international prominence, prizes at major film festivals, premieres and retrospectives in Paris, New York and Los Angeles, and a study of his work by Tony Rayns had been published. All these factors helped make him a familiar name among cinephiles and campus audiences throughout the world. He lived in Munich when not traveling, rented a house in Paris with ex-wife Ingrid Caven. He was often seen in gay bars in New York, earning him cult hero status, but also a controversial reputation in and out of his films. His films were a fixture in art houses of the time after he became internationally known with Ali: Fear Eats the Soul. In 1977, he was a member of the jury at the 27th Berlin International Film Festival.

1977

Enthusiasm for Fassbinder's films grew quickly after Fear Eats the Soul. Vincent Canby paid tribute to Fassbinder as "the most original talent since Godard". In 1977, the New Yorker Theater in Manhattan held a Fassbinder Festival.

Irm Hermann idolized him, but Fassbinder tormented and tortured her for over a decade. This included domestic violence: "He couldn't conceive of my refusing him, and he tried everything. He almost beat me to death on the streets of Bochum ..." In 1977, Hermann became romantically involved with another man and became pregnant by him. Fassbinder proposed to her and offered to adopt the child; she turned him down.

1978

After completing in 1978 his last low-budget and very personal ventures (In a Year of 13 Moons and The Third Generation) he would concentrate on making films that were becoming increasingly garish and stylized. However, his TV series Berlin Alexanderplatz was a naturalistic adaptation of the two-volume novel by Alfred Döblin, which Fassbinder had read many times.

Fassbinder's next lover was Armin Meier. Meier was a near-illiterate former butcher who had spent his early years in an orphanage. He also appeared in several Fassbinder films in this period. A glimpse into their troubled relationship can be seen in Fassbinder's episode for Germany in Autumn (1978). Fassbinder ended the relationship in April 1978. During the week of Fassbinder's birthday (31 May), Meier deliberately consumed four bottles of sleeping pills and alcohol in the kitchen of the apartment he and Fassbinder had previously shared. His body was found a week later.

1979

In a Year of Thirteen Moons was explicitly personal, a reaction to his former lover Armin Meier's suicide. In addition to writing, directing, and editing, Fassbinder also designed the production and worked as the cameraman. When the film played in the New York Film Festival in October 1979, critic Vincent Canby (who championed Fassbinder's work in the United States) wrote, "Its only redeeming feature is genius."

1981

Theater In Trance is a documentary which Fassbinder shot in Cologne in June 1981 at the "Theaters of the World" Festival. Over scenes from groups such as the Squat Theatre and the Tanztheater Wuppertal Pina Bausch Fassbinder spoke passages from Antonin Artaud as well as his own commentary.

2007

Fassbinder's work as a filmmaker was honored in the 2007 exhibition Fassbinder: Berlin Alexanderplatz, which was organized by Klaus Biesenbach at the Museum of Contemporary Art together with Kunst-Werke Institute for Contemporary Art, Berlin. For his exhibition at MoMA, Klaus Biesenbach received the International Association of Art Critics (AICA) award.

Family Members

# Name Relationship Net Worth Salary Age Occupation
#1 Ingrid Caven Spouse N/A N/A N/A

🎂 Upcoming Birthday

Currently, Rainer Werner Fassbinder is 77 years, 5 months and 29 days old. Rainer Werner Fassbinder will celebrate 78th birthday on a Wednesday 31st of May 2023. Below we countdown to Rainer Werner Fassbinder upcoming birthday.

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Recent Birthday Highlights

75th birthday - Sunday, May 31, 2020

Rainer Werner Fassbinder | DW | 29.05.2020

Rainer Werner Fassbinder (1945-1982) was a German director, film producer, author and actor, and a representative of the New German Film movement.

70th birthday - Sunday, May 31, 2015

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To Rainer Werner Fassbinder On His 70th Birthday

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