Achim Bornhak's movie focuses on the restless life of Uschi Obermaier, the icon of the 1968 movement in Germany and groupie. At the age of 16, Uschi is bored by her job in a photo lab, but soon becomes the "it girl" of Munich's club scene. When she gets to know Rainer Langhans, they move to Berlin and live in "Kommune 1", the first politically-motivated commune in Germany. While the other occupants claim she isn't political enough, Uschi just wants to have fun, works as fashion model and leads international music stars in temptation... Written by
During the street riot scene following the arrest of the Kommune 1 members, an extra glances directly into the camera, notices it and vanishes quickly. See more »
In Paris that summer, the students wrote "Power to the imagination" on the walls. In San Francisco they danced in the streets, and fought for what had become their way of life. And I was at home in Sendling, a suburb of Munich. I felt I died a slow and never-ending death that day. The only thing that kept me alive was the music. Without that, I would have died. Or worse, I would have turned into my parents. But music alone wouldn't get me out of Senling. That much was clear to me. ...
See more »
Considering that this movie features a stunningly beautiful woman running around starkers on screen for about 1/3 of the movie, it's surprisingly boring.
The movie is about the most beautiful face of the 1960ies student revolts in Germany -- Uschi Obermaier. Unfortunately, she was little more than a beautiful face (and a very fit body), so possibly the movie's first mistake was picking her as a subject. The next mistake was to chose Natalia Avelon as lead actress -- she may be a great photo model, but she's not much of an actress, and her attempts to mimic Obermaier's charmingly proletarian Bavarian dialect are disastrous, she makes it sound as if Obermaier had some sort of speech impediment.
The makers of this movie apparently had enough money for great cinematography, exotic locations and some great music (to viz, "Kick Out The Jams" by the MC5), but they ought to have invested some of it for hiring someone who can write dialogues, which are risibly bad. The same goes for the "political" scenes -- the Kommune 1 comes off as a bunch of stoner caricatures. If none of the makers grasped what the political and cultural upheavals of the late 1960ies were about, why did they make a movie about that era? Overall the movie never allowed me to understand what Obermaier saw in Langhans or Bockhorn (or what Keith Richards or Mick Jagger saw in Mrs Obermaier, for that matter), or what infatuated them about her.
To give you an example of the hammy script: near the beginning of the plot, her mother discovers some nude pictures of her young daughter. Uschi consequently packs her suitcase, and in the next scene we see her and a girlfriend hitchhiking to Berlin -- for some reason, not along the only (and mandatory) highway that leads from Munich to the divided city, but on some backroad. None of the squares gives them a lift (presumably because pretty young girls were discriminated against in that day and age), until the archetypal VW hippie bus arrives on the scene. They climb aboard, someone hands them a comic-sized reefer, and announces that they're going to pay the Kommune I a visit. They arrive just as the most famous photograph of the KI is being taken, with the communards lined up naked against the wall. Rainer Langhans, still naked, strolls over to the new arrivals, and Uschi is of course instantly infatuated. And so on.
Basically, a (non-porn) movie about some shallow groupie shacking up with some celebrities is difficult to make captivating, and this movie gives it an especially half-arsed shot. I just found it painfully boring to watch.
6 of 16 people found this review helpful.
Was this review helpful to you?