The Genius of Berlin

Berlin Alexanderplatz

directed by Rainer Werner Fassbinder
Criterion Collection, seven DVDs, $124.95

Fassbinder: Berlin Alexanderplatz

Catalog of the exhibition edited by Klaus Biesenbach
an exhibition and screening of the restored film at the KW Institute for Contemporary Art, Berlin, March 18–May 13, 2007, and at P.S.1 Contemporary Art Center, Long Island City, New York, October 21, 2007–January 21, 2008.
Schirmer/Mosel, 664 pp., $90.00

Alfred Döblin’s great novel Berlin Alexanderplatz, published in 1929, is pretty much untranslatable. Much of it is written in the working-class argot of pre-war Berlin. A translator can ignore this, of course, and use plain English, but then you lose the flavor of the original. Or he can go for an approximation, adopting a kind of Brooklynese, for example, but this would not evoke Döblin’s louche Berlin milieu so much as Damon Runyon’s New York.1 John Gay’s Beggar’s Opera, set in eighteenth-century London, was successfully reworked by Bertolt Brecht and Kurt Weill into a Weimar Berlin masterpiece, but that wasn’t a translation; it was a transformation, of place and time.

Franz Biberkopf, the hero of Döblin’s novel, is a pimp, not a bad sort, but given to sudden helpless rages. He whipped one of his girls, Ida, to death with an eggbeater. But that is not how Döblin’s epic tale begins. It begins when Biberkopf is released from Berlin’s Tegel prison, paralyzed with fear at having to pick up his life again in the infernal metropolis. He meets a poor bearded Jew, who tries to comfort him with some Yiddish wisdom. Biberkopf’s spirits are further revived by a rough sexual encounter with Ida’s sister. He quickly finds a new girl, called Polish Lina. This time, he vows, Franz Biberkopf will be a respectable man, ein anständiger Mensch; this time, he will stay away from crime. But he can’t. In Döblin’s words (my translation):

Although he does all right economically, he is at war with an outside force, unpredictable, something that looks like fate.

Biberkopf wants to believe in human goodness. But the part of the metropolis he knows, concentrated in the mean streets around the proletarian Alexanderplatz (“Alex”) in east Berlin, grinds him down. He is punished for his naive trust in others.

Biberkopf’s fate, a sorry succession of shabby deals, drunken brawls, petty crime, and murder, is the stuff of a pulp novel or B-movie. At key moments in the story, he is betrayed by men he regards as his closest friends. Otto Lüders, the uncle of Polish Lina, gives him a share in his business as a door-to-door salesman of shoelaces. Biberkopf has sex with one of his customers, a grieving widow, whose late husband he physically resembles. In exchange for her moment of consolation, she gives him a fat tip. After he tells Lüders about his good fortune, Lüders proceeds to rob her. When he hears about this, Biberkopf goes on a drunken binge. But he still trusts his friend Reinhold, a petty mobster, who can’t bear to stay with the same woman for more than a week or two and insists on passing on one after another to Biberkopf. Since he grows fond of the women, Biberkopf calls a halt to these sordid transactions. Reinhold feels insulted.

Soon after, Biberkopf is tricked into taking part in a heist, and Reinhold almost kills him by pushing him out of the get-away car, hoping he’ll be run…


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