Lola

Two opposites fall in love, the only thing in common between them is that they are seemingly out of place. The title is Lola but the story centers around Von Bohm, the practical and dignified bureaucrat driven to romantic notions of vengeance. He is the odd man out in a world of corruption and dubious morality, candy coated in an ecstasy of colors to give the entire thing a bittersweet tone.

I don't think there was a single piece of lighting in this film that wasn't colored. At one point he unashamedly lets us see the lamps in their fixtures close up, and they are orange (with a green-lit room in the background). Lola is a strange little one of those love-as-politics/politics-as-love double-edged allegories. It's past Fassbinder's peak, but it's still good.

"Ich bin die fesche Lola..." Best Von Sternberg remake, an ambitious project only Fassbinder could have suceeded in.

Highly stylized. Somewhat satirical? I was hooked by both story and acting throughout. I really have to see more of Fassbinder's work asap.

The colours were out of control

someone on RYM said "the photography lets this one down a bit, but plot-wise it's one of fassbinder's best", which is certainly a take.

Fassbinder, to my experiences thus far, is only of note because of his prolific work habits, but the quality of this work, I find to be no more than a potent sleep aid.

An acid-soaked movie about shady capitalism in burgeoning West Germany. It concerns itself with the people who perpetuate it, the people exploited by it, and the difficulty in trying to make it just; if that's even possible at all (Fassbinder seems to presume not). The colors are tacky and self-aware but in a way that complements the themes of the film. It's even beautiful at times, too.

On decadence, corruption, and colors - my god - the colors.

awesome cinematography.

(Rewatch) I barely remembered this one, and i certainly appreciate it's dazzling technicolor aesthetics much more now. In fact, i think this could even be his single most visually beautiful work, although at the same time he risks losing some of his distinctive sensibility underneath all the exquisite retro '50s pastiche. There's actually plenty of his usual thematic concerns about capitalism and mutual exploitation going on, but it's sometimes hard to notice.

Very Nice Movie

Again with Fassbinder, I really didn't connect with this film much, and actually found it a bit dull. The color scheme was dazzling, and the plot was mildly engaging, but the themes and characters didn't resonate with me at all. Lola is sort of a take-off on Marlene Dietrich's character from The Blue Angel but she just isn't as captivating. Although I wanted to see how the story would progress, I really didn't give a damn what happened to any of these people.

Gorgeous cinematography. The duet scene in the church is unforgettable beauty. The end is fittingly dark irony - such are the rules of the game.

Lola estreava há 40 anos na Alemanha Ocidental. Talvez o filme mais bonito esteticamente do Fassbinder, com o perfeito grau de influência dos melodramas americanos em technicolor dos anos 50, simplesmente queria morar dentro do visual desse filme. DVD Versátil.

Odd movie. As usual with Fassbinder's later stuff, there is very little of what I love about his earlier work. Here, there are only the quiet scenes between Mueller-Stahl (who is marvelous) and Sukowa, the scene where they sing the folksong in the church being the most touching. The dénouement is far more cynical than I ever expected--which is saying something. This movie leads me to the conclusion that Fassbinder was an even more tortured soul than I had ever imagined.