as Von Bohm
as Lola's Mother
as Mrs. Fink
as Maj. Voelker
as Mrs. Schuckert
as Mrs. Voelker, Bordello girl
as Bordello girl, Susi
as Bordello girl
as TV Man
Critic Reviews for Lola
The self-aware candor of the actors' efforts converges with Fassbinder's cinema of consciousness, not cynical or knowing cinema but a critical one...
"Lola" is indelibly, ineffably Fassbinder, a demanding, compelling film that virtually imposes a reaction on its viewer. To realize that the intelligence behind these images has been stilled is to be truly saddened.
A bitter, brisk, sometimes abruptly moving satire about the West German economic 'miracle' of the 50's.
Despite its emulation of classical Hollywood Technicolor, Lola, much like the other films in the trilogy, is often insular and cold, holding the audience at arms length.
Lola has a basic simplicity that controls Fassbinder's excesses in its mise-en-scène. [Full Review in Spanish]
Audience Reviews for Lola
The last film of Fassbinder's BRD Trilogy is this sharp social satire that proves to be hilarious from start to finish, a quirky melodrama of garish visuals and glossy colors with Barbara Sukowa displaying a delicious comic timing in a story that can be surprisingly touching.
I really didn't know what to expect from this, but I ended up really liking it. Having very little knowledge of post-war German social life, a lot of the plot was a little harder to pick up on, but the characters required no prerequisites. Barbara Sukowa's performance is truly great, her intensity was really something else. I was a fan of the odd transitions and crazy coloring every time Armin Mueller-Stahl was getting mad. I can't say that it's a movie i'll watch over and over, but it's extremely well made and unique.
I'm a bit of a beginner when it comes to Fassbinder, but "Lola" strengthened my suspicion that he's not destined to be a favorite of mine. There's a lurid, degenerate quality to this tale which just dragged me down, and not in a good way. I much prefer "The Blue Angel" over this modern revision and, for that matter, I also prefer Jacques Demy's 1961 film titled "Lola." The lighting of "Lola" is stylized to incredible extremes -- the film is like a bowl of Easter jelly beans, as dim rooms glow with garish pinks, greens, purples and blues. This eventually becomes tiring. The defocused dissolves used as scene transitions also seem rather tacky. The acting is excellent, however, and the story's portrait of corrupt bureaucracy still has resonance. And on two trivial notes, I greatly enjoyed the minor character of the simpering secretary (I wish we had seen more of her), and it was quite endearing to see the lead actor play some decent violin!
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