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Fassbinder uses the situation to explore ideas of faith, loyalty and betrayal, by incorporating a sub-plot in which Maria, who believes her husband has been killed during battle, begins a passionate relationship with one of the American G.I.s who hangs out at the bar where she works. The notions that arise from this set up are the same notions and themes that will be fleshed out in the BRD films that would follow, with the external similarities of plot and location being found in the next film Lola, whilst the internal angst and ideas of loneliness and despair can be found in the final film, Veronika Voss. This film is a lot less visual than the two films that follow, though there is certainly a more expressive approach to editing, composition & lighting used by cinematographer Michael Ballhaus, similar to the work he did on the director's earlier film, the bitter social satire, Chinese Roulette.
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