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Lili Marleen is a West German drama film directed by Rainer Werner Fassbinder and For the British film, see Lilli Marlene (film). Release date. political dates are often an unreliable guide to film-historical developments. .. This is the case with radio in LOLA and LILI MARLEEN, the press in however, singles Hennann out is his evident reluctance to be drawn into. German cinema's wild genius, Rainer Werner Fassbinder, would have of Maria Braun (), Lili Marleen () and Veronika Voss ().
Tommie Connor also wrote English lyrics with the title Lily of the Lamplight inwhile on leave in Vienna, a lieutenant working at the station was asked to collect a pile of second-hand records from the Reich radio station. Among them was Lili Marleen sung by Lale Andersen, which up till then had sold around copies, karl-Heinz Reintgen, the German officer in charge of the station, began playing the song on the air.
For lack of recordings, Radio Belgrade played the song frequently. At one point the Nazi governments propaganda minister, Joseph Goebbels, Radio Belgrade received letters from Axis soldiers all over Europe asking them to play Lili Marleen again. Erwin Rommel, commander of the Afrika Korps, admired the song, Goebbels reluctantly changed his mind, and from then on the tune was used to sign-off the broadcast at 9,55 PM.
Lale Andersen was awarded a gold disc for one million sales. It is thought she was awarded her copy after hostilities ended, hMVs copy was discarded during renovations to their Oxford Street store in the s, but the disc was recovered and is now in a private collection.
Many Allied soldiers made a point of listening to the song at the end of the day, the continent of Europe seemed a long way away. I wondered when I would see it again and what it would be like by the time we got there. The next year, parachuted into the Yugoslav guerrilla war, Maclean wrote, Sometimes at night, before going to sleep, we would turn on our receiving set and listen to Radio Belgrade.
For months now, the flower of the Afrika Korps had been languishing behind the wire of Allied prison camps. But still, punctually at ten oclock, came Lale Andersen singing their special song, but, now it had become our ultimate goal, which Lili Marlene and her nostalgic little tune seemed somehow to symbolise 5. Giancarlo Giannini — Giancarlo Giannini is an Italian actor and voice-over artist.
Giannini was born in La Spezia, Liguria, Italy and he studied at the Accademia Nazionale dArte Drammatica in Rome, and made his film debut in a small part in I criminali della metropoli in He appeared in supporting roles in Anzio and The Secret of Santa Vittoria, inhe appeared in E le stelle stanno a guardare, a television adaptation of A.
Cronins novel, The Stars Look Down. His fluency in English has brought him a number of featured roles in Hollywood productions and he also appeared in Man on Fire. His elder sister was Dr. Ferrer, bornwas a surgeon and his other sister, Teresa Ferrer, was the religion editor of The New York Herald Tribune and education editor of Newsweek.
He also worked as an editor of a small Vermont newspaper and wrote a childrens book, at age twenty-one, he was appearing on the Broadway stage as a chorus dancer, making his debut there as an actor two years later. After a bout with polio, Ferrer worked as a jockey in Texas and Arkansas. He then was contracted to Columbia Pictures as a director along with several other potentials who began as dialogue directors, Fred Sears, William Castle, Henry Levin, as a producer, he had notable success with the well-regarded film Wait Until Dark, starring Audrey Hepburn.
InFerrer made a modest directing debut with The Girl of the Limberlost and he returned to Broadway to star in Strange Fruit, based on the novel by Lillian Smith.
He also played a blackmailing paparazzo reporter in the Columbo episode Requiem for a Fallen Star, for his contributions to the motion picture industry, Mel Ferrer has a star on the Hollywood Walk of Fame at Hollywood Blvd.
They married inand divorced inthey remarried in and they had two children, Pepa Philippa Ferrer and Mark Young Ferrer. Tripp, they married in and later divorced and they had two children, a daughter, Mela Ferrer and a son, Christopher Ferrer. Frances Gunby Pilchard, for the 2nd time Audrey Hepburn, the actress and they had one child, a son, Sean Hepburn Ferrer Elizabeth Soukhotine, to whom he was married fromto his death in 7.
Gottfried John — Gottfried John was a German actor. John was born in Berlin, Germany on 29 August and his father, whom he never met, was married to another woman. In World War II he and his mother were evacuated to East Prussia and he grew up with his single parent mother and in several protectories, John fled from a protectory when he was 15 years old and returned to his mother, who lived in Paris.
In Paris he earned a living as pavement artist and construction worker, during the s and early s, John was cast by director Rainer Werner Fassbinder in several of his projects, in particular as Reinhold in the Berlin Alexanderplatz mini-series.
He was internationally known for his portrayal of General Ourumov in the James Bond film GoldenEye, John lived with his wife, Brigitte, in Utting am Ammersee from until his death in On 1 Septemberit was announced that John had died in Utting am Ammersee near Munich, Germany of cancer at the age of 72 8. The film stars Hanna Schygulla as Maria, whose marriage to the soldier Hermann remains unfulfilled due to World War II, Maria adapts to the realities of post-war Germany and becomes the wealthy mistress of an industrialist, all the while staying true to her love for Hermann.
The film was one of the successful works of Fassbinder.
During an Allied bombing raid Maria marries the soldier Hermann Braun, after half a day and a whole night together, Hermann returns to the front. Postwar, Maria is told that Hermann has been killed, Maria starts work as a hostess in a bar frequented by American soldiers. She has a relationship with an African-American soldier Bill, who supports her and gives her nylon stockings, Hermann, who was not killed, returns home to discover Maria and Bill undressing each other.
A fight between Hermann and Bill ensues, when Hermann seems in danger, Maria unintentionally kills Bill, striking his head with a full bottle. Maria is tried by a tribunal and expresses her love for both Bill and Hermann, Hermann is so struck with Marias devotion that he takes the blame for the killing and is imprisoned.
Maria likely aborts her pregnancy and asks her doctor to promise to maintain the grave, on the train home, Maria catches the eye of a wealthy industrialist, Karl Oswald. Oswald, an man, offers her a position as his assistant. Maria visits Hermann again and tells him about the development, promising that their life will start as soon as he is released, Maria becomes wealthy and buys a house.
Oswald visits Hermann and offers to him and Maria heirs to his wealth if Hermann deserts Maria after his release. Neither man tells Maria of their agreement, on release, Hermann emigrates to Canada and sends Maria a red rose each month to remind her he still loves her. Distressed, Maria lights a cigarette and dies from an explosion of gas after shed extinguished the burner of the shed used to light a previous cigarette.
Fassbinder changed only a few details in the screenplay, including some dialogues 9. Rainer Werner Fassbinder — Rainer Werner Fassbinder was a German film director, screenwriter, film producer and actor.
Lili Marleen - Wikipedia
Fassbinder was part of the New German Cinema movement and he also worked as an actor, author, cameraman, composer, designer, editor and theater manager. Fassbinder died on 10 June at the age of 37 from a cocktail of cocaine.
He was born three weeks after the Allies occupied the town and the surrender of Germany. The aftermath of World War II deeply marked his childhood and the lives of his family, in compliance with his mothers wishes, Fassbinder later claimed he was born in in order to enhance his status as a cinematic prodigy. His real age was revealed shortly before his death and he was the only child of Liselotte Pempeit, a translator and Helmut Fassbinder, a doctor who worked out of the couples apartment in Sendlinger Strasse, near Munichs red light district.
Fassbinders had an unconventional childhood about which he would later express grievances in interviews, when he was three months old, he was left with a paternal uncle and aunt in the country, since his parents feared he would not survive the winter with them.
As a result, a number of her relatives came to live them in Munich.
Fassbinders parents were cultured members of the bourgeoisie and his father mainly concentrated on his career, which he saw as a means to indulge his passion for writing poetry. His mother largely ignored him as well, spending the majority of her helping her husband with his medical practice.
InLiselotte Pempeit and Helmut Fassbinder divorced, when she was working, she often sent her son to the cinema in order to concentrate. Later in life, Fassbinder claimed that he saw a film every day. During this period, Pempeit was often away from her son for long periods while she recuperated from tuberculosis, in his mothers absence, Fassbinder was looked after by his mothers tenants and friends.
Lili Marleen: Fassbinder’s take on Nazism.
As he was left alone, he became independent and uncontrollable. He clashed with his mothers younger lover Siggi, who lived with them when Fassbinder was around eight or nine years old and he had a similar difficult relationship with the much older journalist Wolff Eder, who became his stepfather in Early in his adolescence, Fassbinder identified as homosexual, as a teen, Fassbinder was sent to boarding school She is best known for her interpretation of the song Lili Marleen in and she was born in Lehe, now part of Bremerhaven and baptized Elisabeth Carlotta Helena Berta Bunnenberg.
Shortly after the birth of their last child, the broke up. Leaving the children in the care of her siblings Thekla and Helmut, Lale went to Berlin in Octoberinher marriage ended in divorce. Inshe was in Munich at the cabaret Simpl, while at the Kabarett der Komiker, she met Norbert Schultze, who had composed the music for Lili Marleen. Lale recorded the song inbut it would become a hit when the Soldatensender Belgrad. Lili Marleen quickly became popular with German soldiers at the front.
The transmitter of the station at Belgrade, was powerful enough to be received all over Europe and the Mediterranean. The one he made is like a Derridean signpost to the one that might have been. Its history is intertwined with the romance between a German-Aryan Zurich cabaret singer named Willie Hanna Schygulla who made it famous and a Swiss Jewish composer, Robert Mendelsson Giancarlo Gianniniwhose father David Mel Ferrer is a wealthy businessman engaged in helping Jews flee Germany and the burgeoning National Socialist phenomenon.
What is wonderful about this film is the hyperbolic melodrama and clever Fassbinder exploration of Nazi Kitch. The zooming camerawork becomes dull we see it so regularly. To stress this point the song is used to torture her lover at one point as he is held captive in the same repetitious monotonous way as it is used to torture us.
The start of the film the better part — or perhaps I was just more excited about the project at that point? The second part is rambling and therefore what should be an exciting storyline becomes something that just fights against the first half. This means that not only is there a thesis and antithesis but also a synthesis of perspectives.
Therefore we have Nazis and underground fighters in a chiastic relation: However, in a world view based on logic, good and bad can have nothing to do with each other. They exist as each others polar opposite. Fassbinder also seems to be enjoying showing us the NAzi regime through external representations they themselves hoped exposed hid them.
However, it is impossible to sustain or incorporate phallic representation. She becomes the great star of the German Empire, the metaphoric gestalt of victory.
She represents the transcendent force in the new medias, the melodramatic, popular force of cinema, of a song that transcends frontiers and languages.
Although Willie is transformed into a realization of this longing, of the experiment of the fascist ideal come true — as in the bedroom scene, where she kisses her own mirror image I loved that scene — she is clearly not presented by Fassbinder as a defense for fascist ideology. The icon disappears, the metaphoric center dissolves in the glittering light of the pomp and circumstance. What is shown here on the screen is the sign of lack and absence in the very center of visuality.
The celebration of voyeurism as an insight or unveiling is negated. Instead, Fassbinder presents to us the hollowness of the major themes of fascist ideology: