During the German reconstruction period and the miraculous economic boom of the 1950s, officials, planners, and contractors in the city of Coburg are loading their pockets through graft, chief among them a fiendish developer (Mario Adorf) who schemes to curry favor with the new, straight arrow building commisioner (Armin Mueller-Stahl) by plying him through the affections of an ambitious prostitute (Barbara Sukowa). From the same Heinrich Mann novel used to draw Sternberg's The Blue Angel, R.W. Fassbinder's Lola (the last of his BRD trilogy, the second released chronologically) depicts corruption and immorality through a beautiful, ebuillent Technicolor lens with Sukowa mesmerizing as the seductive, calculating social climber.
*** out of ****
Entertainment Magazine
During the German reconstruction period and the miraculous economic boom of the 1950s, officials, planners, and contractors in the city of Coburg are loading their pockets through graft, chief among them a fiendish developer (Mario Adorf) who schemes to curry favor with the new, straight arrow building commisioner (Armin Mueller-Stahl) by plying him through the affections of an ambitious prostitute (Barbara Sukowa). From the same Heinrich Mann novel used to draw Sternberg's The Blue Angel, R.W. Fassbinder's Lola (the last of his BRD trilogy, the second released chronologically) depicts corruption and immorality through a beautiful, ebuillent Technicolor lens with Sukowa mesmerizing as the seductive, calculating social climber.
*** out of ****
