Uli Edel, born April 11, 1947, in Neuenburg am Rhein, at first studied theatre studies and German philology before he went to Munich’s Hochschule für Fernsehen und Film (HFF). There, he met Bernd Eichinger who then produced Edel’s short films. Eichinger and Edel already started their long-time collaboration in Munich. After his graduation, Edel worked as an assistant director and editor for Douglas Sirk.
Edel’s and Eichinger’s first major project, “Christiane F. – Wir Kinder vom Bahnhof Zoo” (“Zoo”, 1981), based on Christiane F.’s autobiography about her heroin addiction, became a huge commercial success. After Edel had finished several movies for German TV, he and Eichinger filmed the Hubert Selby adaptation “Letzte Ausfahrt Brooklyn” (“Last Exit to Brooklyn”, 1989) in the USA. The film won Edel the German film award as well the Bavarian film award.
In 1990, Edel went to Los Angeles and mainly did major TV productions for US networks. In 1996, his TV movie “Rasputin”… read more
Has a lot of good things going for it: the murky, near half-lit color scheme of the courtroom, tons of visual metaphor and symbolism, one being Madonna herself, her blonde hair, hard-angled face, and rouge lipstick, and even the subtle (maybe not so subtle) detail of the slightly parted gray curtains when Frank first "interviews" her. Ultimately though, loses itself in movie conventions. The moralistic ending:
"kill the whore," or, no one gets away with a crime, and the fact that it only slightly touched on the dichotomy of the bourgeois world of patriarchy, reason, and limitation that Frank represents, and the one of no value system that Rebecca inhabits. Like a lot of movies I get into, but that are wrapped to quickly and succinctly, I would have rather spent more time exploring the characters and the environment than reaching the verdict. Should have been made in Europe.