Intricately and cleverly plotted body-exchange movie, written by the sisters Perry and Randy Howze (Maid to Order, Mystic Pizza), and directed by Emile Ardolino (Dirty Dancing). I don’t want to give away too much of the story, which invites the spectator to flirt with the idea of at least two kinds of incest, but suffice it to say that the setup involves a happily married young lawyer (Christopher McDonald) who dies and is then reincarnated (as Robert Downey Jr.), and becomes involved with his former family. Because the presiding angel neglected to zap out his memory, he develops an advanced case of deja vu when he encounters his former wife (Cybill Shepherd) and best friend (Ryan O’Neal), while his 22-year-old daughter (Mary Stuart Masterson) poses still other complications. Despite the sudsy, overlit look of William A. Fraker’s cinematography and Downey’s varying success with sight gags, this is still a lot of fun. An additional kicker is provided by the picture’s crazed doublethink morality, which implies that incest is OK as long as you’ve got amnesia. (JR)
Commissioned by Arrow Video for their box set The Rainer Werner Fassbinder Collection, vol. III, released in summer 2022. -- J.R.
“Capitalism is the plague. Criminals are its gods.” --Fassbinder during the German trailer of Gods of the Plague
Rainer Werner Fassbinder was only twenty-four when he made his first four features in 1969, the third of which was Gods of the Plague. Years later, when he compiled a list of what he believed were his ten best features, Gods of the Plague made it into fifth place. The only other very early film on this list was his seventh feature, Beware of the Holy Whore — one of the six feature-length works he made in 1970 -– which figured in first place.
An inveterate list maker who plainly enjoyed that somewhat adolescent pastime, Fassbinder also ranked his ten favourite films made by others (topped by Luchino Visconti’s The Damned) and his ten favourite actresses and actors, both in the films of others and in his own films: Marilyn Monroe, Hanna Schygulla, Clark Gable, and Armin Mueller-Stahl. He also plausibly put himself at the top of his list of the ten most influential German New Wave directors.
One can argue that early Fassbinder is very much a matter of certain raw and irreducible basics – including the contradictions that would haunt the remainder of his prolific oeuvre, which ended, sadly yet predictably, with his drug-fueled death in 1982. Read more
