Welcome to the wonderful Fassbinder cabaret

Until June 11, Monfort . plays happiness (not always funny), An immersive and grotesquely funny stage show by Pierre Millais, it is an adaptation of three films by German director RW Fassbinder. 3:30 dive with a break in post-WWII Germany which is a space for networkingBats and thinks of homophobia, social contempt and racism.

Welcome to the wonderful Fassbinder cabaret. Here, spectators are part of the show. A showman with suspenders calls you into the microphone from his desk. We’re sitting and an ’80s upright cop, leather jacket, handlebar mustache sits next to you. Cigarette smoke everywhere. France Gal who sings “Der Computer Nr 3” at the top of her voice. Sweet pink neon replaces the scene. His Excellency. It was the post-WWII Germany, effervescent and cheap that Pierre Millet wanted to modernize. By adapting 3 films by German director Fassbinder: The right of the strongest (1975), Mama Coasters go to heaven (1975) and All the others are called Ali (1974) The French director questions the lineage of a committed cinematic.

Marginalization and destructive passion

Everything seems to differentiate the street kid, the lonely old housewife and the migrant worker, but their marginality unites them. in The right of the strongest Franz, the lost gay young man, wins the lottery. He falls in love with Eugene, a capricious and rational bourgeoisie, and tries to overcome the social contempt for which he falls victim to his beloved’s family. in Mama Coasters go to heavenEmma, ​​a working wife who committed suicide after killing her boss, tries to restore her husband’s honor by turning into a communist and then anarchist group. in All the others are called Ali, a Moroccan immigrant and an elderly German widow fall in love and end up in marriage. They are victims of criticism from everyone around them and the everyday racism of anti-immigrant Germany. Franz, Emma, ​​Ali. The three love so passionately that they burn their wings. All three seek to challenge the prejudices that undermine German society after World War II.

Tribute to Marilou Marini

If the three plays follow one after the other, then Pierre Millet’s scathing, sassy, ​​vulgar comedy crosses these thirties of the show. A nude angel haired Evebe flashes across the set. He stands at the bar where Franz’s friends are drinking. He wanders in front of Maman Küsters who does not understand what is happening. He sits to play cards with the gang of immigrants who are suspicious of me and an old woman is dancing. As we witness the sensual encounter between Franz and Eugenie, the waitress interrupts the scene to tell the story of Amy Korowsky and the unspoken Moroccan immigrant. Unexpected, and maybe a little embarrassing. While Maman Coasters turned on the radio to listen to the news, we learned at once of her husband’s death and the formal relationship between an old woman and a migrant worker… arguably the best of the three. We can’t wait to finally delve into Amy and Ali’s shattered romance. If you’re bored in the final minutes before the break, adorable Marilou Marini, who plays Emmi, breathes new life into the show. His play, always steadfast, his attitude, always elegant, his gaze, always gentle. Her petite silhouette disappears under a large black coat that seems to be swallowing her but she, like the rest, manages to grab it brilliantly. It radiates the spectacle, revealing to us its weakness at the same time with its determination.

Varandoli of Hopes and Despair

An effective distribution where actors stray from standard characters to find their own life momentum. Regardless of the interpreted character, each has its own brand. Elsa Verdon sometimes plays Franz’s sister, and sometimes Maman Küsters’ daughter without stopping to scream. Kind of a constant, cathartic need to get it all out, spit out everything. Simon Ternoir approaches Eugenie as the voracious, thrill-seeking journalist in the Costers case, with arrogance and ambition. Pierre Millais invited himself to the group, always adding a light tone, a touch of humor. But happiness is not always funny. The first piece ends with Franz’s neglected body covered in the waste of passersby. Two thugs go on to kidnap the corpse and steal his clothes. They left the stage. The laughter subsides. There is nothing funny anymore. It can’t always be. The heroes of the film are not so different from each other, they are even intertwined. Pierre Millet jokes about contradictory feelings and broken desires.

This exposition of Fassbinder’s three works calls into question the German director’s quote: “I make films as if I were making a play and direct in the theater as if I were making films.” A quote that can only validate the project of Pierre Millais to make the cinema screen coincide with the wall of the fourth theater which he canceled at once to incorporate us into his floor. Farrands of hope and despair we are still fighting for today. Perhaps more than ever.

Visual: © Tristan Jeanne-Valès

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