re, up-star. Even the less memorable are masterpieces. Re-watching RWF's is like falling in love for the first time. Peer Raben's melodramatic excess clashing with, Günther Kaufmann singing under his breath for instance; every little instance is buttery!
She's a little too young to be Gloria Swanson, though I suppose this is where it starts. This is less about the cruelty of the motion picture business, and more about collective guilt. In ordinary situations, you just want to be an artist and forget about politics. This just happened not to be that kind of situation. Gorgeous cinematography.
This is the last of Fassbinder's "postwar trilogy", clearly demonstrating a certain level of maturity reached by the director at this point. Playing to an increasingly diminishing fan following, Veronika turns to drugs to cushion her against the cruelties of life. One of the biggest highlights stays with the troubled relationship between the actress and "her best friend".
a brillant part of fassbinder's crowning trilogy. the film contains another mesmirzing lead performance, as well as an allegory of veronika as celebrated during the war, but hidden away afterwards just like germany's past. also, this film is a clear suggestion that not everyone gained from the economic miracle. a beautiful piece in crisp black and white too. fassbinder is a great auteur and this is a masterpiece.
Fassbinder's last great film, shot in gorgeous black & white, with wonderful performances by all the actors, especially Hilmar Thate as the reporter. It's a fictionalized account of a true story, but is told in usual Fassbinder style: imagine "Sunset Boulevard" as if directed by Douglas Sirk, with undercurrents of Hitchcock's "Rebecca" and Welle's "Citizen Kane". Sad to think within a year Fassbinder would be dead.