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 ! www.cinefiches.com
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.
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.
Fassbinder's Lola is a wonderfully technicolor melodrama of a woman who knows what she wants and how to get it. Incredible colour & cinematography. It's not for everyone. You must enjoy German irony. See what I mean? Not for everyone. Though being able to share an inside Fassbinder joke with your spouse at a party makes you instantly more pretentious, intelligent & desirable. Like Lola herself.
I could just imagine Fassbinder, after expressing his art in this one, with those perfect lighting and colourful cinematography, with that flair in editing and assembling all together, asking himself 'Are you happy (with the final result') ?'. I would proudly say 'Yes' to myself, but with that character that was the bavarian director, who knows?
With his BRD trilogy, Fassbinder aptly demonstrates the supremacy of his creative powers. The Sirkean world of the Bundesrepublik Deutschland is again infused with music, light and colour to marvellous effect. To say that Fassbinder was at his best in the 1980s would be a grave insult to his equally stellar 60s and 70s output; nonetheless, Lola is one to remember even amid the other gems in the Fassbinder canon.
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.