The sudden transformation of a lower middle class woman who falls in love with a bank robber and soon becomes one herself.

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(screenplay) (as Christoph Silber), (screenplay) | 1 more credit »
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Cast

Credited cast:
...
Kommissar Fischer
...
Gisela Werler
Charly Hübner ...
Hermann Wittorff
...
Kaminsky
...
Fanny
...
Assistent Kruse
Andreas Schmidt ...
Uwe
Konstantin Graudus ...
Kassierer Schmidt
...
Fräulein Krüger
Heinz Strunk ...
Kunde Koenig
...
Hans Werler
Olaf Krätke ...
Tapetenfabrikant Clemens
Natalie Thiede ...
Monika
Klaus Zmorek ...
Bankchef
Thomas Ziesch ...
Polizist
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The sudden transformation of a lower middle class woman who falls in love with a bank robber and soon becomes one herself.

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27 March 2014 (Germany)  »

Also Known As:

Bank Lady  »

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2.35 : 1
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Pop, guns and circumstances
1 April 2014 | by (Berlin) – See all my reviews

In the aftermath of "westgerman wirtschaftswunderzeit" a young girl's dreams got trapped between the low expectations of her parents, her fiancé (who promise her almost with tears of joy in his eyes: a brand new washing machine, so that "she doesn't have to wash his clothes by hand, anymore") and all the sweet promises of modern life. It's like a Trümmerfrau's daughter wants to climb through Hamburg's shop windows right into the consumer's wonderland. All of a sudden a buddy of her fiancé show's her how to do it. Gisela got her gun - they rob banks for fun and fortune and, at least for her and her slightly naive adaption from magazine's front pages, for fame. Gisela became Germany's first postwar female bank robber. This is based on a true story but full of links to the present as well as it sketches a certain 60's pre-68-melancholia and it's lust for life pretty well. A number of critics in Germany put it down for not giving the "German answer to Pulp Fiction or Bonnie & Clyde". Though it's a thought worth, if Christian Alvart's ambition to make a low budget production look like a bigger budget production sometimes gets him out of focus of what he really wants to tell, it's still a pity that German critics once more stick to their own, often quite limited expectations and show no interest in a perspective that might differ from their own. This is a vision of it's own inside the genre, not a failed pastiche or "answer" at all.


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