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The red-haired interpreter Franziska (Ruth LEUWERIK) has had a long-standing relationship with her callous boss (Richard MÜNCH) and is at the same time married to his employee (Harry MEYEN). On a business trip to Milan, she finally has had enough and breaks up with both men almost at the same time. With little money, she takes a train into the unknown and ends up in foggy Venice. Without a secure perspective, she lets herself drift, rather timidly looks for a new job and meets two men: the homosexual Englishman Patrick (Giorgio ALBERTAZZi) and the Italian Fabio (Rossano BRAZZI). Suddenly the aimless Franziska finds herself in a bizarre (post-)war story, because Patrick still has a score to settle with a Nazi criminal (GOLDFINGER star Gert FRÖBE) who has gone into hiding...

An unusual and very atmospheric film! Ruth LEUWERIK as West German cinema's favorite film star in a completely unusual role, but one that fits incredibly well. Unfortunately there was no success at the BERLINALE 1962. Unfortunately, critics and audiences of the time failed miserably in appreciating this film gem by ACADEMY AWARD nominee Helmut KÄUTNER (nominated for DER HAUPTMANN VON KÖPENICK / THE CAPTAIN OF KÖPENICK in 1957). It's time to rediscover this special film! By the way, the beautiful "Knochenhauer-Amtshaus" (bone cutter's office building) in the old town of Hildesheim plays a rather inglorious role.

Fantastic film that is worth rediscovering!

'Die Rote', is adapted from a novel by Alfred Andersch. Ruth Leuwerik is the carrot-topped protagonist, at wit's end over her disappointing marriage and disillusioning secondary romance. She drops both husband and lover to head to Venice, hoping there to land a job and to enjoy a more fulfilling life. Each person with whom Leuwerik comes in contact is also running away from himself or herself; so much for Venice. After being victimized by deceivers and exploited by self-absorbed martyrs, Leuwerik wearily returns home.

Well-intended but somewhat muddled picture that sealed Ruth Leuwerik's fate as box-office cyanide after a string of monumental flops. Her performance is very subtle, giving the over-complicated story its little coherence.

Kaeutner, who just vowed critics and public alike with the superb adaption of 'Ein Glass Wasser' with Gustav Gruendgrens, Hilde Krahl and an overwhelming Liselotte (Lilo) Pulver in the leads, is ill-at-ease with this very talky weltschmerz material.