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.
It's not unrealistic to think Fassbinder could be making films today if he were alive. Oh, what films they'd be. Though it is hard to think how much Veronika Voss could be improved. Equal parts Von Sternberg and Douglas Sirk, Fassbinder is on top of his game with what has been called his last great film. Cinematography, script and performances are top-shelf, but how about the soundtrack?
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".
I've seen this perhaps ten times and remain most fascinated by the presence of the American serviceman (who says little as he crashes most of the scenes at Frau Doktor Katz's clinic) and the American music that anachronistically cuts into Ms. Voss' dramatic and ongoing decline.