Review of Lola (1981) by Cathy A — 27 May 2011
Viewing the "economic miracle" of post-war Germany through the eyes of a nightclub singer and prostitute (the titular Lola) and her surprising Building Commissioner beau (Armin Mueller-Stahl sure was a handsome man, no?), Fassbinder creates another pointed satire of life in Germany after defeat.
Neon and bright (whereas 'Veronika Voss' was B+W, and 'Maria Braun' was somewhat more muted in palette), Germany's 'bright future' is almost too bright, too artificial. By the end of the film it's clear, we all turn a blind eye every now and then in order to survive.
This review of Lola (1981) was written by Cathy A on 27 May 2011.
Lola has generally received very positive reviews.
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