7.6/10
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Lola (1981)

In post-war West Germany, the charming Von Bohm is appointed a city's new Building Commissioner. His morality is tested when he unknowingly falls in love with a brothel worker, Lola, the paid mistress of a corrupt property developer.
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Cast

Cast overview, first billed only:
Barbara Sukowa ... Lola
Armin Mueller-Stahl ... Von Bohm
Mario Adorf ... Schuckert
Matthias Fuchs ... Esslin
Helga Feddersen Helga Feddersen ... Fräulein Hettich
Karin Baal ... Lola's Mother
Ivan Desny ... Wittich
Elisabeth Volkmann ... Gigi
Hark Bohm Hark Bohm ... Völker
Karl-Heinz von Hassel Karl-Heinz von Hassel ... Timmerding (as Karl Heinz von Hassel)
Rosel Zech ... Frau Schuckert
Sonja Neudorfer Sonja Neudorfer ... Frau Fink
Christine Kaufmann ... Susi
Y Sa Lo Y Sa Lo ... Rosa
Günther Kaufmann ... GI
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Storyline

Ten years after the war, West Germany's market economy is booming. Into an unnamed city that's rife with corruption comes a new building commissioner, Herr von Bohm, committed to progress but also upright. He's smitten by Marie-Louise, a single mother who's his landlady's daughter. Von Bohm does not realize she is also Lola, a singer at a bordello and the mistress of Schuckert, a local builder whose profits depend on von Bohm's projects. When von Bohm discovers Marie-Louise's real vocation and looks closely at Schuckert's work, will this social satire play out as a remake of "Blue Angel," a visit of Chekhov to West Germany, or an update of Jean Renoir's "Rules of the Game"? Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis

Genres:

Drama | Romance

Certificate:

R | See all certifications »
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Details

Country:

West Germany

Language:

German | English | French | Latin

Release Date:

4 August 1982 (USA) See more »

Also Known As:

Lola, una mujer alemana See more »

Filming Locations:

Eichstätt, Bavaria, Germany See more »

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Box Office

Budget:

DEM 3,500,000 (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

This film is part of the Criterion Collection, spine #206. See more »

Goofs

The photograph above the mayor's desk shows downtown Houston, Texas as it looked in the 1960s. The film is set in the late 1950s. See more »

Quotes

Lola: I am corrupt.
See more »

Connections

References Der blaue Engel (1930) See more »

Soundtracks

Plaisir D'Amour
Composed by Jean-Paul Égide Martini, 1784
Arranged By Peer Raben
Vocals by Barbara Sukowa
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User Reviews

Lola gets her man {Rainer Werner Fassbinder}
21 July 2011 | by Stanley-BeckerSee all my reviews

Satirical to the core, this movie is interesting in its realistic illustration of post-war small time corruption. Fassbinder has an extraordinary light touch, and it is a fascinating ride through the endemic connivance's of the petit-bourgeois wheeler-dealers of a small German city. One can actually hear Fassbinder giggling in the background as he brings the universal character of the average conformist-hustler to the screen.

Barbara Sukowa as Lola, is a magnificent actress, especially where she accepts the humiliations of her life, but will not allow them to transform her into the brutalized animal level of behavior, that she observes all around her. Always optimistic, she pursues her goal {to escape from the prison of degradation, she is in}. We, {the viewers}, follow her journey, as she overcomes obstacle after obstacle, to eventually triumph, and take her place as a citizen of her particular Peyton Place.

How she does it is colorful and informative. Fassbinder gives you all the different strata of class prejudice, as the money men are in cahoots with the bureaucrats, who are all, in turn, driven by libidinal desires. Mixing up cabaret elements, together with the controlling power of money, blended in with, the huge heart of those that earn their crust as sex workers {this, is so obviously where Fassbinder's sympathies lie}. Fassbinder has used high cinematic values in this movie, where all the characters, {ultimately}, believe that "Cash is King". Kitsch is displayed with the usual Fassbinder panache and as with many other movie portrayals of prostitution, the more sordid side, such as violence and intimidation, and the risk to health, are not mentioned, giving the otherwise sharp satire of the corrupt financial world, a rather fairy tale gloss.

Fassbinder, who always understood the paramount need to entertain, still manages to convey the malaise, that the aftermath of the Nazi demolition of all moral standards, which had left an entire nation bereft of a natural ethos of right and wrong. Fassbinder gives you entertainment and awareness, a difficult tightrope to straddle.

Fassbinder, like Diogenes, was always in search of an honest man. He had a celebratory attitude to life, and his mirth is infectious.


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