as Von Bohm
as Lola's Mother
as Mrs. Fink
as Maj. Voelker
as Mrs. Schuckert
as Bordello girl, Mrs. Voelker
as Bordello girl, Susi
as Bordello girl
as TV Man
Critic Reviews for Lola
"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.
A fascinating satire and skillfully mounted drama, Lola works because its post-World War II setting has a lot more in common with early 80s politics than I think most people at the time realized.
Lola transcends broad satire and, as with Fassbinder's best pictures, finds the raw humanity at the heart of the film's heightened reality.
I'm delighted to see someone running Rainer Werner Fassbinder's Lola. Actually, I'm just delighted to see someone running any Fassbinder film.
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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