Retro Film Review: Lola (1981)

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Few years ago one of movie magazines in my country ran an article about history of German cinema. The title of the article suggested that the entire story of Seventh Art in Germany could be best illustrated by three films with main characters named Lola. The glorious expressionist past was symbolised by Joseph von Sternberg's Blue Angel. The hip techno future was represented by Tikwer's Run Lola Run. Somewhere in the middle was Rainer Werner Fassbinder with Lola, his 1981 melodrama.

The plot of the film is set begins in 1955 in West German city of Coburg. Ten years after the disastrous defeat in World War, the country begins to enjoy benefits of Adenauer's economic miracle. Some people are enjoying more benefits than others and the best example is Shuckert (played by Mario Adorf), local construction entrepreneur whose methods of gaining wealth include shady business practices and even such seemingly un-German things like paying off local officials. His latest grand scheme is endangered with an arrival of Von Bohm (played by Armin Mueller- Stahl), new building commissioner who happens to be faithful to traditional values and doesn't want to look the other way. While Shuckert struggles to figure out new man's motives, Von Bohm gradually falls in love with beautiful woman named Lola (played by Barbara Sukowa). Two of them are attracted to each other and Von Bohm starts thinking of marriage. But there is one huge impediment to his romantic happiness - unbeknownst to him, Lola earns for living as a singer/prostitute in local brothel and most of Von Bohm's adversaries, including Shuckert, are her clients.

One of Fassbinder's greatest talents was his ability to make movies of seemingly impossible combinations of total opposites. Lola is one of such examples - it blends past with the present, comedy and drama, nitty-gritty naturalism and surrealism, nostalgia and cold examination of national history. 1950s West Germany is probably the best setting for such kind of films, because it was a country of huge contrasts – still scarred by its bloody and most recent past, yet engulfed in spirit of optimism due to sudden economic and technological progress. Lola is full of such contradictions - streets and building of Coburg still bear mark of Allied bombing, and Von Bohm and few other characters are refugees from East Prussia and other lost territories of pre-war Germany; in the same time characters are getting acquainted to the wonders of television and government offices are decorated with pictures featuring skyscraper filled panoramas of country's big cities. Those contradictions also reflect themselves in a way West German society tried to distance itself from some unpleasant truths about Nazi era; this hypocrisy could be mirrored in the character of Lola's mother (played by Karin Baal) who happens to be Von Bohm's housekeeper and desperately tries to hide the truth about her daughter's profession.

Contrasts and contradictions are not only hinted, but actually portrayed in this film. Fassbinder and his cinematographer Xaver Schwarzenberger use different sets of colours to depict different worlds - Von Bohm's idealised vision of Lola as good girl is portrayed by pastel colours, while brothel is painted red. The casting is right on target - Armin Mueller-Stahl (one of the most recognisable character actors in modern Hollywood) is excellent as embodiment of all traditional virtues, while Barbara Sukowa, despite lacking the divine aura of actresses like Marlene Dietrich, shines in the very complex role of femme fatale. Among other actors Swiss veteran Mario Adorf is also very good as film's nominal villain, making this character quite likable and thus providing another ironic twist for Fassbinder.

The real conflict in Lola is not between Von Bohm and Shuckert; the tycoon gets his opposite in the form of Esslin (played by Matthias Fuchs), moralistic character who is portrayed as utterly un-likeable. Unfortunately, although very well played, this character is one of the weakest links in Lola. The audience must believe that someone in 1950s West Germany (or any country, for that matter) might be public official, peace activist and whorehouse musician in the same time. Because of that, this film is not only hard to take seriously, but the audience might be confused about characters' identities or some major plot points. Because of that, Lola might require repeated viewings. On the other hand, that might be good thing- even with such flaws, Lola is interesting and rewarding experience for those who can appreciate German cinema and great directors at work.

RATING: 7/10 (+++)

(Note: The text in its original form was posted in Usenet newsgroup rec.arts.movies.reviews on November 11th 2002)