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Lola (1981)

R  |   |  Comedy, Drama  |  4 August 1982 (USA)
7.7
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Ratings: 7.7/10 from 3,248 users  
Reviews: 13 user | 20 critic

Ten years after the war, West Germany's market economy is booming. Into an unnamed city that's rife with corruption comes a new building commissioner, Herr von Bohm, committed to progress ... See full summary »

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Title: Lola (1981)

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Cast

Cast overview, first billed only:
...
...
Mario Adorf ...
Matthias Fuchs ...
Esslin
Helga Feddersen ...
Karin Baal ...
Lola's Mother
Ivan Desny ...
Wittich
Elisabeth Volkmann ...
Gigi
Hark Bohm ...
Volker
Karl-Heinz von Hassel ...
Timmerding (as Karl Heinz von Hassel)
...
Frau Schuckert
Sonja Neudorfer ...
Frau Fink
...
Susi
Y Sa Lo ...
Rosa
...
GI
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Storyline

Ten years after the war, West Germany's market economy is booming. Into an unnamed city that's rife with corruption comes a new building commissioner, Herr von Bohm, committed to progress but also upright. He's smitten by Marie-Louise, a single mother who's his landlady's daughter. Von Bohm does not realize she is also Lola, a singer at a bordello and the mistress of Schuckert, a local builder whose profits depend on von Bohm's projects. When von Bohm discovers Marie-Louise's real vocation and looks closely at Schuckert's work, will this social satire play out as a remake of "Blue Angel," a visit of Chekhov to West Germany, or an update of Jean Renoir's "Rules of the Game"? Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis

Genres:

Comedy | Drama

Certificate:

R | See all certifications »
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Details

Country:

Language:

|

Release Date:

4 August 1982 (USA)  »

Also Known As:

Lola, une femme allemande  »

Filming Locations:


Box Office

Budget:

DEM 3,500,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Fujicolor)

Aspect Ratio:

1.66 : 1
See  »
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Did You Know?

Trivia

Part of the BRD Trilogy along with The Marriage of Maria Braun (1979) and Veronika Voss (1982). "BRD" stands for Bundesrepublik Deutschland, the official name of West Germany and of the united contemporary Germany, period in which those three stories takes place. See more »

Goofs

The photograph above the mayor's desk shows downtown Houston, Texas as it looked in the 1960s. The film is set in the late 1950s. See more »

Quotes

Lola: Did you love your wife very much?
Von Bohm: I don't really know, perhaps. I came back from the war, and told myself: That's the woman I really love, otherwise I wouldn't have married her. But I didn't feel love. It was just... like the memory of love... Then she told me there was someone else, and for the first time since being back, I really felt something. Not love, but pain. I was thankful to my wife for teaching me how to feel again, even if it was pain.
See more »

Connections

Edited into Großes Herz und große Klappe - Helga Feddersen (2001) See more »

Soundtracks

Caprifischer
Performed by Rudi Schuricke
See more »

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User Reviews

Lola gets her man {Rainer Werner Fassbinder}
21 July 2011 | by (Planet Earth) – See all my reviews

Satirical to the core, this movie is interesting in its realistic illustration of post-war small time corruption. Fassbinder has an extraordinary light touch, and it is a fascinating ride through the endemic connivance's of the petit-bourgeois wheeler-dealers of a small German city. One can actually hear Fassbinder giggling in the background as he brings the universal character of the average conformist-hustler to the screen.

Barbara Sukowa as Lola, is a magnificent actress, especially where she accepts the humiliations of her life, but will not allow them to transform her into the brutalized animal level of behavior, that she observes all around her. Always optimistic, she pursues her goal {to escape from the prison of degradation, she is in}. We, {the viewers}, follow her journey, as she overcomes obstacle after obstacle, to eventually triumph, and take her place as a citizen of her particular Peyton Place.

How she does it is colorful and informative. Fassbinder gives you all the different strata of class prejudice, as the money men are in cahoots with the bureaucrats, who are all, in turn, driven by libidinal desires. Mixing up cabaret elements, together with the controlling power of money, blended in with, the huge heart of those that earn their crust as sex workers {this, is so obviously where Fassbinder's sympathies lie}. Fassbinder has used high cinematic values in this movie, where all the characters, {ultimately}, believe that "Cash is King". Kitsch is displayed with the usual Fassbinder panache and as with many other movie portrayals of prostitution, the more sordid side, such as violence and intimidation, and the risk to health, are not mentioned, giving the otherwise sharp satire of the corrupt financial world, a rather fairy tale gloss.

Fassbinder, who always understood the paramount need to entertain, still manages to convey the malaise, that the aftermath of the Nazi demolition of all moral standards, which had left an entire nation bereft of a natural ethos of right and wrong. Fassbinder gives you entertainment and awareness, a difficult tightrope to straddle.

Fassbinder, like Diogenes, was always in search of an honest man. He had a celebratory attitude to life, and his mirth is infectious.


6 of 6 people found this review helpful.  Was this review helpful to you?

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