Lola, une femme allemande

Lola (1981) was the second part of director Rainer Werner Fassbinder's celebrated trilogy of films that looked specifically at the period following the end of the Second World War, and in particular, the socio-political and economic re-birth of Germany following the Wirtschaftswunder. All three films in the trilogy look at these situations through the eyes of a strong-willed, arrogant and determined female-protagonist who strives against all odds to achieve the kind of lifestyle that she has always desired, but, once she does, finds herself still feeling empty and lacking in spirit. The characters in these films come to represent Fassbinder's own feelings about the Germany of this particular period, whilst simultaneously acting as an allegorical portrayal and deeper interpretation of the qualities and characteristics of the country itself.

Typical of the director's later works, Lola is a giddy fusion of the filmmaker's key cinematic inspirations and his then political concerns. It was a style and personal ideology that Fassbinder had been building up to with films like In a Year with 13 Moons (1978) and Despair (1978), showing the director's continuing attempts to subvert the conventions of the melodrama by way of narrative experimentation and visual stylisation; a cinematic device that would be further tinkered with in his final films, the bitter Veronika Voss (1982) and the deeply surreal Querelle (1982). Whereas his early films, such as Fear Eats the Soul (1974) and The Merchant of Four Seasons (1972), had developed an astute sense of character, dislocated from a reality that was, in some way, categorically our own, these later-period Fassbinder films seem to disregard actual reality for a more expressive and cinematic depiction. So, whilst those early films may have once given us a depiction of small town life, boardrooms and bordellos that could have easily sprung from a documentary, Lola (and these later films in general) give us a surreal detachment and an arcane theatricality, with music being used to create both mood and atmosphere, as well as scoring the underlining emotions, which, when coupled with that roving camera and sumptuous 'chocolate box' photography, creates some dynamic and astounding moments of cinematic spectacle.

As with most films that can be categorised as melodrama, the story of Lola is deceptively simple. On the one hand the film is a remake of The Blue Angel (1930), replete with similar scenarios, characters and thematic concerns, though the whole thing is elaborated on by the director's interest in social issues, gender roles, human emotions, politics (both modern day and historical) and, as with other filmmakers of the German New Wave, particularly Herzog and Wenders, the role of 'New Germany' under the bleak and unforgiving shadow of the past. Fassbinder couples these issues with the themes of unrequited love, social disgrace and personal tragedy - elements that were so internal in his early work, like Fear Eats the Soul - and makes them external here, tying it all into that gloriously giddy mise-en-scene. This is the kind of film where even the performances are stylised; wavering from understated longing to over-the-top bursts of elation, though never belying the intent of the story of the believability of the character. We also get a separate viewpoint for the story as well, with Fassbinder opening out the proceedings in a way that goes against the original version of The Blue Angel in order to give us more focus on the character Von Bohm - the lonely, up tight businessman who comes to represent a beacon of morality - who falls in love with the showgirl, only to see his initial plight subsequently perverted by those that Lola manages to wrap around her finger. The ultimate rejection and realisation by Von Bohm of Lola's callous manipulation is one of the most crippling and emotionally heart-breaking scenes of Fassbinder's career.

Here, we find Armin Mueller-Stahl as the tortured Von Bohm, staring ahead, his face bathed in red light, the background awash with blue, being given the external visual representation of his hate, anger and general outsider status by Fassbinder's cinematography. From this, we see the strands of corruption and greed, love and longing, jealousy and deceit as the strongest themes of the film, with Barbara Sukowa (as excellent here as she was in von Trier's Europa a decade later) managing to pull off this multi-faceted role that seems to incorporate every single one of those disparate characteristics. Because of this, some have stated that Lola, as a character, is too hard to relate to or sympathise with and, as a result of this, Fassbinder's central message falls flat. I disagree. I believe you have to really analysis Lola's relationship to the town and her relationship with Von Bohm to really understand the contradictory dimensions of the character in relation to the director's sub-textual ideas about Post War Germany, etc.

Lola exists in very much the same cinematic universe as the two other films that would come to form the backbone of what would eventually become known "the BRD trilogy"; though Fassbinder himself had often talked of plans to make more films in a similar vein - analysing post-war German history through to the present day - but was unable to continue the theme due to his untimely death in June of 1982. My only complaint is that the film seems to move a little too slowly on first viewing, but that just means that the viewer will have to work a little harder to follow the plot without being diverted by that sublime cinematography. Lola is, inarguably, one of the high points of latter-period Fassbinder and represents something of a second crossroad within his all-too-short career that - judging from that sprawling epic Berlin Alexanderplatz (1980) and the later, surreal and disturbing Querelle - could have really taken him anywhere!

It's 10 years after the war in West Germany. Lola (Barbara Sukowa) is a lounge singer/prostitute at a bordello run by corrupt builder Schuckert, the father of her daughter. Herr von Bohm (Armin Mueller-Stahl) is a new righteous building commissioner and Schuckert needs to add three floors to his building. Esslin works under von Bohm and is the corrupt mayor's man. Lola's mother is von Bohm's landlady. Lola seduces von Bohm as proper lady with her real name Marie-Louise. When Esslin brings him to the bordello, his incorruptibility is tested.

Barbara Sukowa is terrific as the brassy broad reminiscent of the old classic goddesses like Marlene Dietrich. Armin Mueller-Stahl is always Armin. There are other great performances. This is a morality fable. It has a slightly surreal melodramatic feel. It's all very intriguing.

This looks absolutely wonderful throughout with astonishingly colourful lighting and much use of red and blue. The drawback is that with all the scenes similarly lit with bright colours a certain level of artifice is created. This is fantastic for the most effective night club scenes but becomes rather distracting elsewhere when we are being asked to take seriously the Blue Angel inspired antics of the well meaning older man and the flighty young dancer. It also distracts somewhat from the financial shenanigans. Overall, however, we get the drift and Fassbinder is once more trying to bring some awareness to a German population in denial, that they did not only loose the war but their very identity in the aftermath with all the divisions brought upon the nation by Russia and the West. Barbara Sukowa stars as the Dietrich type figure and very well she does too as she flirts with the corrupt property developer and the supposed socialist leaning reforming inspector. Awash with the benefits of the 'economic miracle' much helped by the funds plowed in for the rebuild, her actions ensure that the old man gets what he wants, the developer similarly and she sails off into the sunset, immorality levels safely restored.

West Germany, late 1950s: Lola (Barbara Sukowa) 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 (Mario Adorf), the town's new building commissioner von Bohm (Armin Mueller-Stahl) is an honest and idealistic man who tries to clean up the building license politics from bribery and cheating. One day Lola approaches von Bohm, piques his interest and eventually leads him to dream of marriage with her – but how will he react when Lola's true profession is eventually revealed?

Lola was my first Fassbinder film, so I don't know how it compares to his other works or the other two films in the BRD trilogy, but I can say that I was impressed by the unique style. Almost all of the scenes are lit with very bright and coloured lights, frequently painting the characters in different colours even when in the same frame. The music is also light in tone, often highly comedic, making the serious-sounding tale of corruption appear as silly and petty games of fooling each other. Various characters also provide plenty of over-the-top comedy; particularly Schukert whose dancing in the brothel with the singing Lola on his shoulders provides perhaps the most outrageous scene in the whole film. Nevertheless, it's not all comedy, as the characters' serious emotional development is also examined. Besides von Bohm's realization of the true nature of things, Lola's confusion about what to do with the men surrounding her is also absorbing to see.

All in all, Fassbinder's exaggerated and satirical approach to Germany's era of post-war rebuilding is thoroughly entertaining thanks to the visual style and the lovely music. The actors, from the obnoxious Mario Adorf to the enigmatic Barbara Sukowa, do a good job too, and I consider the film a both delightful and thought-provoking piece of cinema that has definitely got me interested in seeing more of the director's work.

Von Bohm is from East-Prussia, his two "weaknesses" are "East-Prussian human beings and West-Frisian tea", he tells to Lola's mother who works as his house-keeper after he has been elected as the new head of the construction department by the city of Coburg. Coburg - as any German city in the time of the "Wirtschaftswunder" - is a place "where people have an outer and an inner life, and both have nothing to do with one another". Although Von Bohm agrees, he has not a ghost of an idea that the elegant and beautiful young lady who gets his hand-kiss is in her "inner" life the attraction of the local bordello where the "crows" (major, police president, politicians, heads of the governmental departments) and the "vulture" (Schuckert) reunite every evening while their wives are knitting at home or are already asleep.

It is amazing what Fassbinder made out of the Heinrich Mann-Von Sternberg drama "Professor Unrat" or "The Blue Angel", respectively. Fassbinder's Lola is not a man-murdering and at last unreachable "beauty" like the (not so beautiful) Marlene Dietrich, but a girl who has to nourish her little daughter and still has the hope for a better live. She is "open" for everybody and does not flirt with the distance. In the opposite: On the stage she goes from hand to hand and is something like a collective propriety of the "Creme De La Creme" of the little city. (The figure of Esslin - whose name is close to Enslin -, who quotes Bakunin in Lola's Boudoir, is probably the rest that remained from the original protagonist character of Professor Unrat.) Therefore, Fassbinder's Lola is not about the decrease of a society member by entering the "wrong" society, but about her way to become a part of her society and Von Bohm's desire to possess his beloved "object". This is managed in an almost fairy-tale-like style, typically (and ironically) for the Germany of the Adenauer-era, so that in the end everybody looks happy, since everybody got what he wanted: Lola says to Mrs. Schuckert: "Now I belong to you". Schuckert earns his 3 millions of D-Marks from the "Lindenhof", the Mayor will be reelected, and Von Bohm gets Lola. Then, Lola's little daughter asks him: "Are you happy now?". Von Bohm answers a bit hesitatingly by "Yes". Unlike Professor Unrat, he does not pay with his life for his love, but probably with his soul.