Maria’s devotion to Herman metaphorically reflects her loyalty to a defeated nation, and her pragmatic, forward-thinking disposition reflects the typical post-war German mindset — which wanted to freely move on from a calamity on its own terms.
Because it has a striking color scheme, features a big Hollywood star, and is largely in English, The American Friend doesn’t challenge viewers like some Fassbinder and Herzog films do, which makes the film an ideal entry point for those new to New German Cinema. However, most of the films were commercial failures and the movement was heavily dependent on subsidies. Fassbinder continued to produce film after film until his death in 1982; arguably his masterpiece was 1979's The Marriage of Maria Braun, which suggest the moral turmoil of the 70s had its roots in the breakdown of the social fabric after the war. Winter is furious to have been thrown into this mess; after all, he’s dead broke and now must spend his own time and money driving around aimlessly in the hope of finding a little girl’s grandmother. The most powerful segment in Germany in Autumn is actually the first one, written and directed by Fassbinder. The aforementioned swastika scene employs stark black-and-white photography and a documentary-style realism, whereas the rest of the film relies on a garish color palette. Throughout the 1970s, Wim Wenders often piously integrated American pop culture and the Americanization of Germany as major plot points or critical themes in his films. Against a backdrop of kidnappings, bombings and hijackings, the police grew increasingly oppressive in their tactics in order to squeeze out any suspected terrorists, while the journalists grew increasingly willing to do anything in order to get a piece of the action via the next big scoop – even if that meant destroying someone’s life. Ultimately, the leaders of the movement produced an insightful, acclaimed body of work and restored the international reputation of German cinema along the way.
Other impactful segments in Germany in Autumn include another amusing bit in which a panel of television executives want to censor a production of Antigone in case it incites women to terrorism (many leaders in the RAF were women), and an interview with imprisoned radical Horst Mahler, who speaks eloquently about his cause but disagrees with the violent approach of the RAF, arguing that it makes the far-left just as bad as the oppressive government they first rallied against. Based on these criteria, it’s no surprise that Herzog deemed the original Nosferatu the greatest film to ever come out of Germany; not only that, he was keen on making his own version, starring Kinski in the titular role. The peak of Red Army Faction hysteria in West Germany took place during the autumn of 1977, when members of the RAF kidnapped German industrialist Hanns Martin Schleyer. The film’s central theme, the displaced man at home, is also well realized, with numerous scenes of men aimlessly driving cars, riding trains, wandering cities, sitting at home — all hoping for some sort of deeper purpose or fulfillment. Fassbinder’s films are infused with an undercurrent of rage at bourgeois West German society and the discriminatory streak that still ran through it; despite many who tried to argue that the old Nazi attitudes of racism and xenophobia were now dead and gone, Fassbinder sought to rub Germans’ noses in what remained of their prejudices. Alexander Kluge's Abschied von Gestern was the harbinger of New German Cinema in 1966, but it was Werner Herzog's extraordinary Conradian saga Aguirre, Wrath of God in 1972 that saw the movement have a serious and lasting international impact. German cinema got off to a fantastic start straight after the first world war, as the liberal atmosphere of the Weimar republic triggered an explosion across all creative disciplines. Wolfgang Pedersen followed in the footsteps of the prewar émigrés after the commercial success of Das Boot – he's since made In the Line of Fire, The Perfect Storm and Troy in Hollywood. Indeed, von Trotta first rose to prominence in the New German Cinema as an actress in films directed by Fassbinder (Gods of the Plague, The American Soldier) and Schlöndorff (Coup de Grace), who also happened to be her husband. Many New German Cinema projects did receive some funding and distribution from subsidy laws, The Federal Ministry of the Interior, and Kuratorium Junger Deutscher Film (Young German Film Committee), which prompted the filmmakers to experiment with evocative subject matter and the potentials of cinema itself.
Rather, Aguirre’s greatest achievement lies in its atmosphere and the subdued illustration of destructive colonial ambitions and human susceptibility to delusion. Two years later came an equally groundbreaking film, Nosferatu – an unauthorised adaptation of Bram Stoker's novel Dracula that enshrined some of the creepiest cinema images ever recorded. Fassbinder glimpses into Maria’s humanity when she returns to a shambled, dilapidated area that was once her old school.
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