I attended a screening of Rainer Werner Fassbinder's 1980 film
Lili Marleen at the
Fassbinder: Romantic Anarchist series at Lincoln Center last weekend, and it was an extraordinary experience. This is one of Fassbinder's weirdest and in some ways most problematic films, a movie for which he had a relatively giant budget and got lots of publicity, but which has since become among the most hard-to-find Fassbinder films (which is really saying something!). Despite a lot of searching, I didn't come upon a reasonably-priced copy of it until I recently discovered an
Australian DVD (seemingly out of print now) that was a library discard.
The story of
Lili Marleen is relatively simple, and is very loosely based on the wartime experiences of
Lale Andersen, whose performance of the title
song was immensely popular, and whose book
Der Himmel hat viele Farben is credited in the film. A mildly talented Berlin cabaret singer named Willie (Hannah Schygulla) falls in love with a Jewish musician named Robert (Giancarlo Giannini), whose father (Mel Ferrer) is head of a powerful resistance organization based in Switzerland, and who does not approve of the love affair or Robert's proposal of marriage. A Nazi officer (Karl Heinz von Hassel) hears Willie perform one night, is captivated by her, and guides her into recording the song "Lili Marleen", which unexpectedly becomes a song beloved of all soldiers everywhere on Earth. Willie becomes a rich and famous star, summoned even by Hitler himself, while Robert continues to work for the resistance and ends up marrying someone else. By the end of the war, Robert is a great musician and conductor and Willie seems mostly forgotten, many of her friends dead or imprisoned, and Robert lost to her. She had no convictions aside from her love of Robert, but that love was not enough. (I should note here that there are interesting overlaps between the film and Kurt Vonnegut's great novel
Mother Night. But that's a topic for another day...)
I was surprised to find that Lincoln Center was using the German dub of the film rather than the English-language original (it was a multinational production, so English was the lingua franca, and, given the dominance of English-language film, presumably made it easier to market). It was interesting to see
Lili Marleen in German, but unfortunately the print did not come subtitled, and so Lincoln Center added subtitles by apparently having someone click on prepared blocks of text. The effect was bizarre: not only were the subtitles sometimes too light to read, but they were often off from what the actors were saying, and when the subtitler would get behind, they would simply click through whole paragraphs of text to catch up. My German's not great, but I was familiar with the film and can pick up enough German to know what was going on and where the subtitles belonged, but I missed plenty of details. The effect was to render the film more dreamlike and far less coherent in terms of plot and character relations than it actually is. Not a bad experience, though, as it heightened a lot of the effects Fassbinder seemed to be going for.
Afterward, I said to my companion, "That was like watching an anti-Nazi movie made in the style of Nazi movies." I'd vaguely had a similar feeling when I first watched the DVD, but it wasn't so vivid for me as when we watched the German version with terrible subtitling — my first experience of Nazi films was of unsubtitled 16mm prints and videotapes my WWII-obsessed father watched when I was a kid.
