7.2/10
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In Switzerland, German singer Willie falls in love with Jewish composer, Robert, who offers resistance to the Nazis by helping refugees. But his family thinks Willie is a Nazi and may be a ... See full summary »

Writers:

Manfred Purzer (original screenplay), Joshua Sinclair (screenplay contributor) | 4 more credits »
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1 win & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
Hanna Schygulla ... Willie
Giancarlo Giannini ... Robert
Mel Ferrer ... David Mendelsson
Karl-Heinz von Hassel Karl-Heinz von Hassel ... Henkel (as Karl Heinz von Hassel)
Erik Schumann Erik Schumann ... von Strehlow
Hark Bohm Hark Bohm ... Taschner
Gottfried John ... Aaron
Karin Baal ... Anna Lederer
Christine Kaufmann ... Miriam
Udo Kier ... Drewitz
Roger Fritz Roger Fritz ... Kauffmann
Rainer Will Rainer Will ... Bernt
Raúl Gimenez Raúl Gimenez ... Blonsky (as Raul Giminez)
Adrian Hoven ... Ginsberg
Willy Harlander Willy Harlander ... Prosel
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Storyline

In Switzerland, German singer Willie falls in love with Jewish composer, Robert, who offers resistance to the Nazis by helping refugees. But his family thinks Willie is a Nazi and may be a risk for them. One day Willie helps Robert but, has to stay in Germany. As Willie starts to sing the song 'Lili Marleen' she becomes very famous and every soldier hears that song via radio - even Hitler wants to meet her, but she still does not forget Robert, and helps to smuggle photos of concentration camps to the free Switzerland. Robert wants to visit her, but is captured. Will never see Willie again until war is over. Written by Marco Louis <Alouisius@hotline.pfalz.de>

Plot Summary | Add Synopsis

Genres:

Drama | Music | Romance | War

Certificate:

R | See all certifications »
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Details

Country:

West Germany

Language:

English | German

Release Date:

14 January 1981 (West Germany) See more »

Also Known As:

Lili Marlene See more »

Filming Locations:

Berlin, Germany See more »

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Box Office

Budget:

DEM 10,500,000 (estimated)
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Fujicolor)

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Trivia

The character of Willi is loosely based on the German singer Lale Andersen who was the real Lili Marleen. See more »

Goofs

Robert is put in a Gestapo cell to find out who he is; apparently at least a week passes. Finally the ruthless ones find out that he knows Willi, the star, and decide to have them confronted, yet at this point he looks his clean-shaved best and is even better dressed than on the night of his arrest. See more »

Connections

References Berlin Alexanderplatz (1980) See more »

Soundtracks

Lili Marleen
(German Version)
(based on a poem from the 1915 book "Die kleine Hafenorgel" by Hans Leip)
Music By Norbert Schultze,
Vocals Hanna Schygulla
(p) 1981 Schlicht Musikverlag, Phonogram, GmbH, DRG Records, Inc., Philips
© Metropolis Records
Published By Brampton Music Ltd., Chappell Music Ltd., Peter Maurice Music,
EMI Music
See more »

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User Reviews

 
The Chiasm of Offender and Victim
23 January 2008 | by hasoschSee all my reviews

Many critics have felt offended that R.W. Fassbinder has portrayed both protagonist Wilkie and the Nazis in this movie in a human-like manner. Connoisseurs of other Fassbinder films, however, will realize that "Lili Marleen" (1981) belongs to Fassbinder's "women movies" like "The Marriage of Maria Braun" (1979) and "Lola" (1981). Fassbinder was convinced that "stories can be told much better with women than with men", because, according to Fassbinder, while men usually fulfill their determined roles in society, "women are capable of thinking in a dialectic manner". Dialectics, however, means that there is not only a thesis and its antithesis like usually in our black-and-white world, but a synthesis where the oppositions coincide. Moreover, dialectic means that because of the third instance of synthesis the absolute opposition of the difference between thesis and antithesis is abolished. Concretely speaking: Starting from a dialect point of view and portraying the fascist state, the underground fighters must necessarily use the basic means like the rulers do, and between offenders and victims there is thus a chiastic relation, so that every offender is also victim and every victim is also offender. Fassbinder has illustrated this abstract scheme, that transcends classical logic, in his play "The City, the Garbage and the Death" (1975) which was filmed by Daniel Schmid under the title "Shadow of Angels" (1976).

Therefore, approaching an a priori controversial topic like Nazi Germany, in a dialectic manner, the depiction of this time in the form of a movie gets even more controversial, especially for people who cannot or do not want to see that our recognition of the world is by far not exhausted with a primitive light-switch schema, but needs the third instance of synthesis as controlling instance of its opposite members thesis and antithesis. The mutual relationship between offenders and victims has to scrutinized, since it is simply not true that the offenders are the bad ones and the victims the good ones. In a synthetic viewpoint, the bad ones participate on the goodness as the good ones participate on the badness. They are mutually related. In a world-view based on classical logic, a relation between good and bad cannot even been established, and in an ethics based on this insufficient system of logic, the bad conscience of the survivors of Nazi Germany, feeling (illogically enough) responsible for the deeds of their ancestors, exclude the possibility of a relationship between the two extremes and thus a synthesis in the form a new evaluation based on this relationship as well. From Fassbinder's dialectic viewpoint, it follows that neither Lili Marleen nor Lola nor Maria Braun can be condemned for their "misuse" of the ruling system for their private purposes, because they don't misuse them, they just use them. In the opposite, since victims must repeat the actions of the offenders as the offenders must repeat the actions of the victims, because "good" and "bad" are no longer simple mirror images of one another like in two-valued logic, their strategies are legitimated by the chiastic structure of a logic that describes our world, that is not black and white at all, much better than a black-and-white logic.


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