Rita Vogt is a radical West German terrorist who abandons the revolution and settles in East Germany with a new identity provided by the East German secret service. She lives in constant ...
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Based on a true story a group of East Berliners escaping to the West. Harry Melchior was a champion East German swimmer at odds with the system under which he has already been imprisoned. ... See full summary »
Roland Suso Richter
At a boarding school in the pre-war Austro-Hungarian Empire, a pair of students torture one of their fellow classmates, Basini, who has been caught stealing money from one of the two. The ... See full summary »
Somewhere in the endless steppes of Central Asia lies a treasure. One man holds the key to it, a fragment of an ancient map. But in his restless quest, Charles isn't looking for fame or ... See full summary »
The movie describes real events that took place in 1983, when seven young Georgians, all from intellectual elite families, attempted to flee the Soviet Union by hijacking an airliner. The ... See full summary »
Rita Vogt is a radical West German terrorist who abandons the revolution and settles in East Germany with a new identity provided by the East German secret service. She lives in constant fear of having her cover blown, which unavoidably happens after the German re-unification.Written by
Marcelo R. <email@example.com>
Rita is working in a railway vehicle factory as part of her second legend, supposedly in 1989. But in one scene, when Rita is walking across the factory yard, one can clearly see car bodies of class 481 EMUs and H-Type metro vehicles, not in production until the late 1990s. See more »
Maybe it's the cultural specificity of the piece, but somehow Volker Schlondorff's "The Legends of Rita" fails to hit the right emotional chords, where essentially the film's humanism-over-politics thematics want to evoke in the audience. Don't get me wrong, "Rita" is an excellently crafted film, subtle and never forceful. The film succeeds above and beyond expectations in its depiction of the latter years of the GDR, portraying an ideologically bankrupt nation whose environments and inhabitants seem to be caught in a state of limbo. Perhaps Schlondorff's acquiring of the former DEFA (and UFA before it) Babelsburg studios is the main reason for the authenticity of his vision of the former East. As well, this is a departure from the realm of fantasy that Schlondorff had probed history within in such works as "The Ogre" and "The Tin Drum." Instead, as with Bertolucci's "Besieged," the director has returned to his roots in filmmaking and provided a once-again fresh, verité aesthetic. This could very well be a companion piece to "The Lost Honour of Katharina Blum," although, as I mentioned earlier, the emotions fall flat here, failing to deliver an ultimate, devastating "punch."
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