Lola
(Rainer Werner Fassbinder, 1981)
West Germany, late 1950s: Lola is a
singing prostitute working in a brothel that the town's bigwigs, even the
mayor, like to frequent. To the annoyance of the corrupt construction
entrepreneurs, especially a crass man named Schukert, the town's new building
commissioner von Bohm is an honest and idealistic man who tries to clean up the
building license politics from bribery and cheating.
As with The Marriage of Maria Braun, parallels
with Fassbinder’s life are easy to make between him and his heroins. He also
make metaphors on the post-war West Germany with, for example, the presence of
the black American soldier that represents the American occupation.
The way Von Bohn sees Lola and agrees to her lifestyle wraps up how the West German society was hypocritical in the late 1950's but also how everything was up for sale. The whore, flesh, and even Von Bohn's own morale. As Rousseau stated, it is not men who are instinctly bad but it is society that turns them into bad men. It's influence and the natural effect of wanting to fit in the mold and answer to the role we are all asked to act. Lola represents the cave in of Von Bohn's values into extreme capitalism.
On the other hand, Fassbinder directed his actors to be complete exgerations of their characters and used the term black comedy for his command on the film. He was still in the melo mode of 1950's Sirk inspired films but did not wanted to make a weeping drama.
With The Marriage of Maria Braun, the BRD trilogy continues with Veronika Voss that will conclude this female titled tirlogy about 1950's West Germany and its excesses. Lola is almost a superior film to Maria Braun and goes way beyond in its social commentary and in the Fassbinder signature.
The way Von Bohn sees Lola and agrees to her lifestyle wraps up how the West German society was hypocritical in the late 1950's but also how everything was up for sale. The whore, flesh, and even Von Bohn's own morale. As Rousseau stated, it is not men who are instinctly bad but it is society that turns them into bad men. It's influence and the natural effect of wanting to fit in the mold and answer to the role we are all asked to act. Lola represents the cave in of Von Bohn's values into extreme capitalism.
On the other hand, Fassbinder directed his actors to be complete exgerations of their characters and used the term black comedy for his command on the film. He was still in the melo mode of 1950's Sirk inspired films but did not wanted to make a weeping drama.
With The Marriage of Maria Braun, the BRD trilogy continues with Veronika Voss that will conclude this female titled tirlogy about 1950's West Germany and its excesses. Lola is almost a superior film to Maria Braun and goes way beyond in its social commentary and in the Fassbinder signature.
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