In Der Bomberpilot Schroeter displays a similar disrespect for historical ‘truth’ in his treatment of post Second World War Germany. In this film he tells the stories of three fictional women who had performed in Nazi revues during the war.
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Der Bomberpilot does for the post-war German woman what Eisenstein's October did for ... October. Eistenstein, however, was unable to not take the Russian revolution seriously while taking it seriously. This is the trick Schroeter pulls off. I'm a Schroeter guy.
Although not one of Schroeter's greatest films, its creative freedom, its boldness of representation, its accumulation of erudite references, its ideological sharpness is an ersatz in these contemporary times of ideological pallor and cinematic banality. Like John Waters, at the same time and with a similar appeal, Schroeter answers to an heteroclite fracture: against interpretation.