When von Bohm discovers Marie-Louise’s real vocation and looks closely at Schuckert’s work, will this social satire play out as a remake of “Blue Angel,” a visit of Chekhov to West Germany, or an update of Jean Renoir’s “Rules of the Game”? The film is set in the late s. In its depiction of endemic corruption in postwar West Germany, Lola is at times like an enjoyably scathing political cartoon come to life. With delicious humour, Schukert, in the mayor’s seat, responds: Schukert is another victor. His power in the town has not been diminished, he has generously traded Lola in marriage to von Bohm in order to maintain his profits but he will still be able to enjoy her whenever he wants and he has magnanimously handed over the brothel in trust to his daughter Marie. You can help Wikipedia by expanding it. Everyone has a price!
Fox and His Friends Marias is a rags to riches tale — in order to survive after the war she abandons traditional female values of morality and chastity, selling herself to the Americans symbolising the commodification of human relationships ; her later business success mirrors the Wirtschaftswunder. Just a list of some pretty cool movie posters on the LB database. Frau Fink Christine Kaufmann Review by Nicholas Tremblay. Director Rainer Werner Fassbinder. Lola Fassbinder’s use of Brechtian aesthetics, in Jump Cut , no.
Critics Review the 91st Academy Awards Telecast. He portrays a third llola of terrorists in a police state — after the first generation of idealists and the second generation of pragmatists, the third generation are just opportunists.
The film is set in the late s. Actually, I’m just delighted to see someone running any Fassbinder film.
A young West German working-class man wins the lottery and initiates a relationship with a man above his social standing. Isolde Barth as Bordello girl, Mrs. The gel lighting is gorgeous.
In an earlier article “Distancing Techniques in Fassbinders Effi Briest ” I analysed in detail the influence of Brecht, especially the idea of Verfremdung alienation or estrangementon Fassbinder’s style.
With delicious humour, Schukert, in the mayor’s seat, responds: Lola is able synipsis bridge the gulf between her two diametrically opposed admirers, the unscrupulous Schukert and the upright von Bohm. Views Read Edit View history. His contribution is very personalised and fassbindsr bitter arguments with his homosexual lover, the actor Armin Meier. Agreeing synopsiss marry Lola, von Bohm abandons his moral principles and sells out, changing his mind in order to allow the Lindenhof project to go ahead.
She could not produce a marriage certificate either because it was thrown out of a car window or because she and Fassbinder did not have lolz blood test which was required to legitimise the marriage in Florida.
Lola ( film) – Wikipedia
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The movie manages to be incredibly cynical – rightly for the most part – and kindly sincere too. It is Lola, who decides she wants to know this interesting man and under her real name of Marie-Luise soon attracts his attention.
The scene when Von Bohm sees Barbara Sukowa singing and you see her process the shock of him finding out she works in the brothel and her deciding to embrace it and sing the hell out of Capri Fisher all in one take was incredible. Christine Kaufmann as Bordello girl, Susi. In the nineteenth century, seventeen year old Effi Briest is married to the older Baron von Instetten and moves into a house, that she believes has a ghost, in a small isolated Baltic town Lola is a well-acted film which showcases Rainer Werner Fassbinder’s laser-sharp social consciousness.
In the course of the film, she has achieved upward social mobility from whore and single mum to respectable bourgeois housewife. Eric Broome Super Reviewer. When Esslin asks her if she wants to live in a rotten corrupt society, she replies that she doesn’t mind the corruption, but what really riles her is that the elite won’t let her have a share. Kusters wants to add canned sausages to the stew, her Learn more More Like This. Ivan Desny as Wittich.
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This article related to a German film of the s is a stub. In the mighty were anything but magnanimous to the APO and its sympathizers. Veronika Voss Rainer Werner Fassbinder. Please click the link below to receive your verification email. The last film of Fassbinder’s BRD Trilogy is this sharp social satire that proves to be hilarious from start to finish, a quirky melodrama of garish visuals and glossy colors with Barbara Sukowa displaying a delicious comic timing in a story that can be surprisingly touching.
In his study of Fassbinder’s work in the German theatre, David Barnett argues against those critics who exaggerate the influence of Antonin Artaud  on Fassbinder while downplaying the importance of Brecht: