At the very end of his amazing yet tragically short career, Fassbinder still gives us his Douglas Sirk-influenced view of the world, except this time colored with Billy Wilder's SUNSET BOULEVARD and Robert Aldrich's THE LEGEND OF LYLAH CLARE for good measure. The result, in typical
Fassbinder fashion, is a visually incredible portrait of German corruption as well as the UFA star system and the loneliness of once-famous screen star Veronika Voss (Zech). The fading star is drawn into an affair with sportswriter Robert Krohn (Thate), who soon discovers the actress's dependency
on drugs. Her doctor (Duringer) fuels her addiction, forcing Voss to turn over all of her personal property in exchange for more morphine. Krohn and his girlfriend bring the doctor to the attention of the authorities, unaware that they, too, are involved in the doctor's scheme. On Easter Sunday,
Voss is locked in her room by the doctor. Suffering from withdrawal symptoms after being refused morphine, she is given enough sleeping pills to kill herself. Zech is quite remarkable at the film's close.
One of the most stylish of Fassbinder's many films, VERONIKA VOSS features dizzying camerawork and stark black-and-white photography. Not among Fassbinder's greatest achievements, this striking film is nonetheless a worthy companion piece to his earlier two films about postwar Germany, THE
MARRIAGE OF MARIA BRAUN and LOLA. The actual story is loosely based on the life of Sybille Schmitz (VAMPYR, FERRYMAN MARIA) a gifted German film star who committed suicide in the mid-1950s, unable to cope with the loss of her celebrity.
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- Released: 1982
- Rating: R
- Review: At the very end of his amazing yet tragically short career, Fassbinder still gives us his Douglas Sirk-influenced view of the world, except this time colored with Billy Wilder's SUNSET BOULEVARD and Robert Aldrich's THE LEGEND OF LYLAH CLARE for good measu… (more)