The 120 Days of Bottrop

The 120 Days of Bottrop is a 1997 movie directed by Christoph Schlingensief, featuring renowned actors like Margit Carstensen, Irm Hermann, and Volker Spengler. This intoxicating blend of art, satire, and the eccentric, is a cinematic tribute to German filmmaker, Rainer Werner Fassbinder, one of the most controversial figures in the history of German cinema.

At its heart, The 120 Days of Bottrop is a movie about making a movie. An audacious maneuver, the story of the film revolves around a group of eccentric filmmakers who come together to create a remake of Fassbinder’s last film, ‘Berlin Alexanderplatz,’ under the title 'Das Letzte Territorium' ('The Last Territory')- an endeavor envisioned as an epic blueprint to put the new, united Germany on canvas, as well as a tribute to the legendary German filmmaker.

Other than the trio of Margit Carstensen, Irm Hermann, and Volker Spengler, all known veterans of several of Fassbinder's films, the ensemble cast features the likes of Martin Wuttke, Sophie Rois, Peter Kern and Helge Schneider, promising a powerhouse of performances, a signature trait of Schlingensief's approach to cinema.

While the main storyline often veers towards the outrageous, being a pastiche of Fassbinder's melodramatic outbursts and eccentricities, director Schlingensief's masterstroke is his intertwining of the overall tribute theme with elements of ambiguity and absurdity, resulting in a social satire. The 120 Days of Bottrop presents its audience with larger-than-life characters, punctuated with several over-the-top scenes and visually grand sets, thus expertly echoing Fassbinder's love for melodrama and his habitual use of theatrical tropes.

The tone of the film is distinctly Fassbinder-esque, navigating through the troubled lives of various German individuals following the reunification of East and West Germany. The sense of despair, lack of direction, and quest for identity commonly associated with Fassbinder's protagonists are equally visible in the characters in this film. However, what sets The 120 Days of Bottrop apart is its self-aware, theatrical presentation, and its keen focus on making the art of filmmaking its central plot device.

Volker Spengler, in a wonderful homage, essays the role of the erratic and warm-hearted director who leads his band of equally whimsical actors on a mission to re-create what they believe is the spirit of Fassbinder in a new age of German cinema. Margit Carstensen and Irm Hermann, playing the determined producer and the powerful diva respectively, incorporate their characters with a blend of absurdity and resilient determination, living up to their larger-than-life personas with sheer brilliance and charisma.

Despite its seemingly chaotic construction, The 120 Days of Bottrop takes its audience on a surprisingly profound journey, exploring topics like multiculturalism, exploitation, societal norms, and the challenges of filmmaking. A unique blend of eccentricity, celebration, satire, and homage, the film successfully underlines that it is more than just a tribute; it is a mirror reflecting the absurdity and struggles of creating art.

The movie makes its point very well, powerfully reaffirming the relevance of Fassbinder's themes and approach to cinema while also serving as an accurate reflection of Schlingensief’s own style and trademarks. All in all, The 120 Days of Bottrop, taking inspiration from Fassbinder's work, became a cinematic experience that is just as courageous and controversial as its inspiration had been.

In the end, The 120 Days of Bottrop is a true delight for the lovers of avant-garde movies and definitely a must-watch for the fans of Fassbinder, representing as it does, not just a tribute to the legendary director, but also a critical observation of the German society during the period, and the state of the German cinema in the aftermath of Fassbinder's death. It is a bold, daring, and thought-provoking movie that combines humor, drama, satire and contemplation into one extraordinary cinematic experience.