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Lili Marleen (1981)
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Overview
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Release Date:
14 January 1981 (West Germany) morePlot:
In Switzerland German singer 'Willie' falls in love with Jewish composer 'Robert' who offers resistance to the Nazis by helping refugees... more | add synopsisUser Comments:
Story of a spell moreCast
(Cast overview, first billed only)| Hanna Schygulla | ... | Willie | |
| Giancarlo Giannini | ... | Robert | |
| Mel Ferrer | ... | David Mendelsson | |
| Karl-Heinz von Hassel | ... | Henkel (as Karl Heinz von Hassel) | |
| Erik Schumann | ... | von Strehlow | |
| Hark Bohm | ... | Taschner | |
| Gottfried John | ... | Aaron | |
| Karin Baal | ... | Anna Lederer | |
| Christine Kaufmann | ... | Miriam | |
| Udo Kier | ... | Drewitz | |
| Roger Fritz | ... | Kauffmann | |
| Rainer Will | ... | Bernt | |
| Raúl Gimenez | ... | Blonsky (as Raul Giminez) | |
| Adrian Hoven | ... | Ginsberg | |
| Willy Harlander | ... | Prosel |
Additional Details
Parents Guide:
Add content advisory for parentsRuntime:
120 min | Brazil:111 minCountry:
West GermanyColor:
ColorAspect Ratio:
1.66 : 1 moreSound Mix:
MonoCertification:
Iceland:16 | Netherlands:12 | Australia:M | Finland:K-16 | Singapore:R(A) | Sweden:15 | UK:15 | USA:R | West Germany:12Fun Stuff
Trivia:
The character of Willi is loosely based on the German singer Lale Andersen who was the real Lili Marleen. moreGoofs:
Factual errors: After having tried to commit suicide, Willi is seen performing "Lili Marleen" in the Berlin Sportpalast as part of a deal with the Nazis, dazzlingly dressed up in front of thousands, and the event is transmitted live. Then suddenly all is held up by the announcement that all German forces have surrendered (VE Day, May 8, 1945). Of course, in the final months of the regime no-one would bother about arranging a sumptuous live transmission of music; by this time, Berlin was a heap of rubble. moreFAQ
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Story of a song. And what song! In fact, the creation of Hans Leip and Norbert Schultze is the only character, a spell who creates existences, loves, tragedies with a sarcastic indifference. It is an obsessive music, soul of a ambiguous time of dreams and ideas intoxication, with old words and cruels ambitions.
Certainly, it is a Fassbinder's lesson about values and lies, about rules of war and feelings, about small victims and sacrifice.
Hanna Schygulla is gorgeous in a character's skin different of Lale Anderson or Marlene Dietrich but with the same art to describe the atmosphere of extincted space. In some moments I saw in parts of film elements of "Cabaret" Nazi song or "Satyricon" dances. It is normal: interpretation of song is not only piece of a show but rule of life. "Lili Marleen" is not the old "Das Lied eines Jungen Soldaten auf der Wacht" but hard of an universe, hypocrite, coward, frail.
The final meeting between Willie and Robert is only seal of ordinary tragedy. To late, to far.