To appease more fantasy-minded American viewers, Fassbinder created two radically different endings for Mother Küsters Goes to Heaven: one where Emma literally goes to heaven after a tragic showdown with the police and the second being a much happier one, to the point of absurdity, that recalls F.W. Murnau’s German expressionist masterpiece The Last Laugh (1924) aka Der letzte Mann in its outstanding yet ostentatious optimism, but both conclusions thankfully express the complete and utter futility of radical left-wing action. Personally, I prefer the ‘happy ending’ as few filmic characters are more deserving of it and despite portraying a sort of ‘fantasy reality’ at the end, Mother Küsters Goes to Heaven features a sweet and suitably sentimental scenario you would never see in Hollywood yet executed with an immaculate Sirkian flare that makes the Danish-German filmmaker’s films like All That Heaven Allows (1955) and Imitation of Life (1959) seem ostensibly outmoded and thematically irrelevant due to Fassbinder's socio-politically astute insights as a lapsed member of the extreme left. What makes Mother Küsters Goes to Heaven especially interesting is that not for one moment in the film does Fassbinder make it seem like protagonist Emma or any other member of the working-class will “break its chains” because, as history has proven, revolutions never happen from ‘below’ as demonstrated by the Russian Revolution, which was, in part, funded by Wall Street and led by mostly Jewish intellectuals from bourgeois and aristocratic backgrounds who were failed members of their own privileged class backgrounds (Russian SFSR leader Vladimir Lenin was from a wealthy family and was a failed lawyer whose interest in ‘revolutionary’ activity was due to his deep-seated desire for revenge against the czar for having his brother executed in 1887). In a sense, the armchair revolutionaries featured in Mother Küsters Goes to Heaven are no different from the ethno-masochistic bourgeois American whites who describe themselves as “progressive” (but, at least as far as mother nature is concerned, are retrogressive) and dominate positions in mainstream academia, the media, and the government today – main difference between the two groups being that, while the kraut commies of the 1970s patronizingly ‘fought’ for the mostly white Teutonic proletariat (after all, there were not that many colored folks in the Fatherland back then like there are today), their contemporary Yankee quasi-commie compatriots confirm their sense of superiority over working-class whites by championing non-whites, illegal aliens, abberosexuals of every stripe, the disabled, and just about every other loser 'victim' group that confirms they are a degenerate class who has developed an inexorable slave-morality and a sickening sense of self-loathing, and epitomize the decadent elite who, in an act of social suicidal, inevitably wipes itself out as described in Italian philosopher Vilfredo Pareto’s The Rise and Fall of Elites: An Application of Theoretical Sociology.
In an interview featured in the book Chaos as Usual: Conversations About Rainer Werner Fassbinder (1997), Mother Küsters Goes to Heaven star Brigitte Mira described her experience with the film as follows, “I remember Mother Küsters Goes to Heaven: that practically caused a riot, people whistled and booed, not because the film was bad but because the subject was so controversial. I know nothing about politics and I don’t feel entitled to make any judgments. Rainer always said, “you certainly know your job.” That was high praise coming from him.” Indeed, a film that attacks a very large portion of the audience it was created for, Mother Küsters Goes to Heaven also manages to give an honest, albeit patently pessimistic, message to the working-class that the bourgeois never did them any favors in the past and they certainly are not showing them any genuine empathy and support today, sort of like how white leftists in America have only all the more crippled the majority of blacks by supporting their campaign for independence and stability via the welfare state and anachronistic programs like affirmative action. Of course, it goes without saying that the media in Mother Küsters Goes to Heaven is portrayed as no less a source of exploitation of the working-class and victims of crimes, but everyone already knows that, so it makes for a less important and interesting aspect of the film.
Foretelling his own premature death, Fassbinder once admitted in an interview that his main motivation as a filmmaker was,“the concrete longing for this utopia. If this longing is driven out of me, I will not do anything else; that’s why as a creative person I have the feeling of being murdered in Germany, if you would please not mistake that for paranoia….I believe this recent witch-hunt…was staged in order to destroy individual utopias…If it comes to the point where my fears are greater than my longing for something beautiful, then I’ll quit. And not just quit working,” and, indeed, Mother Küsters Goes to Heaven, in its patent pessimism and uncompromising cynicism, seems like the work of a man disillusioned with politics and people, so it is no surprise that he would be dead seven years later as one of the few members of German New Cinema who had the gall to admit his generation had failed, but not without giving false hope to the hopeless in the process.