Like "I Shot Andy Warhol," it is perhaps impossible for me to be subjective about "Water Drops on Burning Rocks." I am a huge fan of all Warhol encompasses, which makes it impossible to judge the former fairly; and I love the life story and many of the films of 70's German, enfant terrible Rainer Werner Fassbinder, which causes the same problem with the latter. Fassbinder's biography "Love is Colder than Death," (1987) by Robert Katz, is probably one of the most interesting books on a film director ever penned.

Fassbinder was a control freak. A true 70's icon and iconoclast. His films and his plays were often taunt, introspective melodramas played out in one setting where the dynamics of a relationship were explored from every angle. Generally, these pieces ended in tragedy. "Water Drops..." is no exception.

Written as a play by the prolific filmmaker when he was just 19 and left unproduced in his lifetime, the script for this film is pure, golden, unmitigated Fassbinder. There are only four characters here with the two secondary roles coming in to play well into the film's running time. The original duo is comprised of an older man who takes in a young man, almost a hustler, for a night of passion. This begins a relationship that goes on for several months.

As was his wont, Fassbinder discusses themes of isolation, alienation, domination, boredom, sexual deviance, sexual prowess, bisexuality, psychological game playing, sexual role playing, and death in the play. It's a rapid fire and engrossing film perhaps because it so encompasses many ideas and themes that the director would turn to again and again in his films and plays. This seems to be made from the concentrate from which almost all of his following pieces were derived.

Director Francois Ozon, sometimes describe as a new French enfant terrible director, translates the script into his native language. He does a superb job of evoking Fassbinder's edgy wordplay in the film. Perhaps we get a more vibrant, colorful and cheeky film than the rather morose German would have delivered, but the essence is pure and the dialogue and plot is simply spot on. Ozon overcomes the problem of opening up the play into a film but then, again, it should be claustrophobic. Still, generally, his use of tableau and repeated visual jokes are quite amusing and effective. His sets are spectacular 70's imagery making films like "The Virgin Suicides" look hackneyed by comparison. Ozon seems to have a true love of Fassbinder and his admiration pops out of every frame. It's a sparkling and wondrous salute to the beauty of the auteur's work, especially his script and his dramatic tension.

The actors in the film are nothing short of brilliant. Malik Zidi is not only comfortable in the role of 19 year old bisexual Franz, he is also quite adept at delivering the dialogue here. He's a true find in cinema. Not only is he able to create a extensive sexual chemistry with Bernard Giraudeau, a man seemingly 30 years his senior, he makes us believe he truly loves the man. These are brave performances that elevate thespianism to the pantheon of the Gods. These two men embody the ideal of Fassbinder so perfectly; it's as if they are transported out of his imagination and onto the screen. And while the female characters are secondary, and only introduced towards the end of the film, their contributions cannot be overlooked either. In every way, this cast is perfection. And, even better, each of them is a beautiful site to behold, creating a sexual spark in the film no matter what you are interested in. For gay men who like younger men, Zidi, who spends some of his time in various stages of undress, is simply breathtaking. He is the street boy of our dreams. Who wouldn't want to bring him home? Watching his erotic lovemaking scenes with the sexy Giraudeau is only superseded by witnessing their brilliant verbal sparring. This film crackles with sexual electricity and dramatic tautness.

Hey, I'll admit it, I'm a sucker for this film. I love Fassbinder. The film has a compacted and shimmering script and watching Ozon and his cast bring it to the screen is a continual delight. Watching Zidi in almost every frame is nothing short of bliss.

This is a love letter, a homage to Fassbinder. It's not necessary to know about the director in order to enjoy the film. In fact, this might serve as a great introductory piece to the man's work. But the more you know, the better. Fassbinder's life story is fascinating. This film opens up as much of the puzzle as it completes. And makes every moment deliciously deviant.

Notes:

In French with subtitles. A few German phrases and songs pop up in the film but are not subtitled. As was the norm in Fassbinder's plays (and films based on them), all of the music in the film is incidental, being played on a phonograph by the characters when appearing in the score.

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