Rote Sonne

A dropout playboy waster Marquard Bohm reunites in Munich with a friend he knew in Hamburg Uschi Obermaier ; but she is now a member of a sort of Feminist Red Army Faction type outfit

But at first he does not cotton on it seems

This is a very moody piece imbued with the times when the Left in Germany grew teeth as they realized that marches and speeches and asking nicely for a more egalitarian world was getting them nowhere; add to that the rise of steely feminism (think Valerie Solanas S. C. U. M. kinda vibe); all this need be understood to grasp the mood and direction and the minds of the protagonists and intent of the director in Red Sun ....

The four women are all exceedingly beautiful Mara temptresses; the words femme fatale are the ones they would need to enter on their collective CV

Marquard Bohm has the face and demeanour of a degenerate; I have recently seen 2 other films with him from that time and this can be also said there; and he does it really well; acted or not 🙂🙃😉

The final scenes are really poignant and probably say something deep about the Masculine and the Feminine .... or not :...

If you are a fan of 60/70s Gegenkultur definitely drop in ...

There's a long, stringent thread in German art movie tradition: the much-heralded "social relevance" almost always serves as an excuse for brainless ennui. Rudolf Thome's Rote Sonne, enthusiastically hailed in 1970 by Wim Wenders as the future of the so-called Autorenfilm, makes no difference. Slurring slacker Marquard Bohm moves like a grubby sleepwalker through the spartanly furnished rooms of a flat in Munich his girlfriend (astoundingly bland: Uschi Obermaier, anyway good enough for Jimi Hendrix when he was totally doped in 1968) shares with three other gals out to pick a bloody bone with dudes. Unfortunately the hausfrauen fatales never take action; instead, you get witless blather without end, certainly no story – we're in a German movie here, already forgotten? –, zero erotic ambiance, the monotonous repetition of Albinoni's Adagio in C minor, and the zombie-esque performances of the participants that Wenders tried to sell with the following: "The actors are just boldly present in the scenes, talking and acting as if they do not know what's next ..." Well observed, Wim! The shootout at Lake Starnberg – noticeably an homage to Vidor's Duel in the Sun – might be the most amateurish piece of crap Jesús Franco never dared to put in front of a lens, but an even bigger letdown are the 4.99 Deutsche Mark H&M synthetic skirts of the overwhelmingly unsexy chicks. Before you object: The Swedish clothing retailer was founded in 1947.

The dialogues are ridiculous but not in a funny way, the story is absolutely unbelievable and the actors are lousy. I watched the whole film once but not another time for sure

This movie is very funny indeed. Maybe it's an attempt at film noir with feministic background that has gone terribly wrong. Maybe the comic elements have been intended. Maybe it's a political statement with nods to Godard. The plot depicts a group of young woman that decide to kill their boyfriends if they insist on a relationship lasting longer than five days. Actually it's pretty entertaining, although all characters are talking and acting in a VERY weird way, resulting in some german reference books calling it a science fiction-movie set in the future, although there are no hints in the plot that justify such an assumption. Anyway, the guy who wrote the dialogue MUST have been on drugs: "If the condition to change society is a change of the weather, then we have to change the weather. This is not impossible." You get the idea, although this may have been a very bad translation.

The film is okay, not outstanding. It helps that Uschi Obermaier plays the female lead and that the strange (conspiratorial) plot has some period color that I like.

To avoid any kind of spoilers, I can only tell you about the cars in this film ... they are beautiful and waterproof ... the nightclubs ... they are even better than the cars.

Only the girls' apartment, I have some problems with that. This strange building is a bit shabby like a mafioso's den. Not at all like one should imagine the accommodation of successful gals in the upcoming Olympic city.

If you are looking for other (maybe more realistic) German feminist-expressionistic cinema, I rather recommend "Strohfeuer" aka "A Free Woman" by Volker Schlöndorff.