Cornelia Froboess, Doris Schade, Erik Schumann, Gunther Kaufmann, Hilmar Thate ...( see more  see more... ) , Peter Berling , Rosel Zech , Sonja Neudorfer

Rosel Zech plays a dissipated 1940s German movie star who, 10 years after the war, has become a morphine addict. Her claim to fame: She used to be a close, personal friend of Nazi propaganda minister ...( read more  read more... )Joseph Goebbels. The third in a trilogy of films from director Rainer Werner Fassbinder, frequently grouped with The Marriage of Maria Braun and Lola due to the shared theme of women's experiences with loss and survival in postwar Germany.

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86% liked it

201 ratings

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Directed by: Rainer Werner Fassbinder

Release Date: September 24, 1982

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DVD Release Date: September 30, 2003

Stats: 24 reviews

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Flixster Reviews (24)


  • November 24, 2009
    A slow mellow haze of morphine induced drama. Tragic and equally sweet. A blinding white and silver glow portrays the decadence of an aging films star quite perfectly. It would almost be inappropriate to relate this film to Sunset Boulevard, but the theme is very similar.

    It see...( read more)ms like all of the characters have their own monkey on their back to fight, all of them with antagonist characteristics. I think it would be best to describe it as being a way for the characters to accept hating themselves, to put themselves through such depressing drama willingly.

    There were many aspects of this film, that seemed to be used simply as a device to fuck with your head. One of the most obvious aspects was the cheesy 80s editing transitions. Although the cinematography portrays the feel of the 1940s, West Germany, this aspect makes it feel more like we are in an Ah-ha music video. Was this done with intent to confuse? It is used so arbitrarily, that it almost pushes itself into that artistic realm forcefully.

    Other than the transitions, there are a few other arbitrary effects used in this film, that will definitely leave one wondering. The idea,, in my opinion is to really drive home this depraved overtone. Also, a way for us to obtain a true voyeuristic point of view. So, while we're standing from the outside looking in, we are clearly saying 'what the fuck', as we are unable to get true clairvoyance merely as a spy.

    However, as we culminate, we find out the truth, that often times in life, evil does prevail over good. A harsh reality that definitely one-ups Wilder's Sunset Boulevard, or does it maybe pick up where he left off??

    This movie was very disturbing, but also entertaining. Very eloquent acting by our German Norma Desmond, and very well written, with such a modge podge of self-loathing characters. Some truly admirable and smart cinematography to boot. A highly recommended watch for the cinephile out there looking to reach into a weird and exciting realm of fiction.
  • March 18, 2009
    I feel I may be cut for comparing RW Fassbinder to Tarantion, BUT, he works Veronika Voss in the same way QT works all his films. No doubt Fassbinder is a fan of old Hollywood noir and melodrama, and you can see his love for it in the film as it seems he really wants to make one....( read more) But with Veronika Voss he possesses the hind sight that was not present back then. He of course borrows and comments on the conventions, but in doing so inserts his own style into it making it a great and outstanding film.
  • April 21, 2009
    Early on, Voss says to her new acquaintance Robert that light and shadow are the two secrets of film making. Fassbinder uses this to his advantage to contrast good and evil yet in a deceiving tone uses bright sets and lights in the offices of the film's antagonist: an evil doctor...( read more) who hooks her patients on morphine only to slowly steal away every material possession they have. This may link to the strong pessimistic themes throughout the film: Robert's efforts to save Veronika seem utterly hopeless and the fact that higher evil powers will always win out over the small minority trying to stop them.

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