Once-beloved Third Reich–era starlet Veronika Voss (Rosel Zech) lives in obscurity in postwar Munich. Struggling for survival and haunted by past glories, the forgotten star encounters sportswriter Robert Krohn (Hilmar Thate) in a rain-swept park and intrigues him with her mysterious beauty. As their unlikely relationship develops, Krohn comes to discover the dark secrets behind the faded actresses’ demise. Based on the true story of a World War II UFA star, Veronika Voss is wicked satire disguised as 1950s melodrama.
Cast
| Veronika Voss | Rosel Zech |
| Robert Krohn | Hilmar Thate |
| Henriette | Cornelia Froboess |
| Dr. Marianne Katz | Annemarie Düringer |
| Josefa | Doris Schade |
| Dr. Edel | Erik Schumann |
| Film producer | Peter Berling |
| G.I. | Günther Kaufmann |
| Saleswoman | Sonja Neudorfer |
| Chefin | Lilo Pempeit |
| Film director No. 1 | Volker Spengler |
| Gardner | Herbert Steinmetz |
| Grete | Elisabeth Volkmann |
| Editor-in-chief | Hans Wyprächtiger |
| Film director No. 2 | Peter Zadek |
| Old married couple | Johanna Hofer |
| Old married couple | Rudolf Platte |
| Max Rehbein | Armin Mueller-Stahl |
Credits
| Producer | Thomas Schühly |
| Screenplay | Peter Märthesheimer and Pea Fröhlich |
| Music | Peer Raben |
| Production Design | Rolf Zehetbauer |
| Cinematography | Xaver Schwarzenberger |
| Film editor | Juliane Lorenz |
| Costume designer | Barbara Baum |
| Art director | Walter Richarz |
| Assistant directors | Karin Viesel, Harry Baer and Tamara Kafka |
| Assistant camera | Josef Vavra |
| Sound | Vladimir Vizner |
| Makeup artists | Anni Nöbauer and Gerd Nemetz |
| Director | Rainer Werner Fassbinder |
by Kent Jones
Sep 29, 2003
People say that drugs killed Rainer Werner Fassbinder, but after taking another look at his films and his writings, I have a different idea. He once said, famously, that he was trying to construct a house with his films, which is hard work. Many filmmakers have left their own houses half-finished . . .
by Michael Töteberg
Sep 29, 2003
In May 1981, in the midst of shooting Lola, Rainer Werner Fassbinder sketched out his next film project: Sybille Schmitz. On the cover, he had written, “Story for a Feature Film*.” The asterisk pointed to this footnote: “It is possible that the title will have to be changed for . . .
