Fassbinder remakes Sternberg's "Blue Angel" in post-World War II and seems to be saying that, a war later, Germany is still the same. The ending, though, completely alters his statement: if in the end of "Blue Angel" the man dies of shame, in "Lola" he lets himself be corrupted by the immoral society that Democracy has implemented in Germany and that is as artificial as the dream-like cinematography of the movie.
the best of the BRD trilogy. fassbinder presents the perfect allegory of lola as a woman who is sullied by her past actions and her ties to them completly in the present, much in the same way as Germany. the visuals are mesmirizing with the candy-cane colouring suggesting a dream like trance. fantastic lead performances too, possibly the best recycling of the film factory. a masterpiece in every sense of the word.
About as subtle as its colour palate... Fassbinder at his most accessible, if least nuanced and complex. Gorgeous, hilarious, scathing indictment of post-war Germany in particular (riffing cleverly on the old Dietrich German cinema classic Blue Angel), and the hypocrisy inherent to capitalism, in general. Not my favourite Fassbinder. But lots of fun.
Dans l'Allemagne de la fin des années 50 une petite ville de province, dominée par l'omniprésent spéculateur Schuckert, grand amateur de fêtes, avec sa protégée, la chanteuse Lola, voit son emprise vaciller, un certain temps, par l'arrivée d'un intègre fonctionnaire prussien, le rigide Von Bohm .
Encore un Fassbinder bienvenu !
A neon dream that didn't wow me the way that Maria Braun did from all angles, but is a German New Wave and a Fassbinder gem all the same. The dissolves, along with the similar jump cuts, aid the film in having a bit of a fever dream quality to the rhythym of it all. The parts of the film, though striking and memorable, don't work to the strength of the film as a whole.