Veronika voss, directed by Rainer Werner Fassbinder, is a taciturn but highly effective story about addiction and exploitation. Fassbinder is considered by many to be the most famous member of the film movement known as the “New German Cinema”. This revolution in cinema emerged in the 1960s as a reaction to the fluffy escapist cinema to which West Germany had descended in the wake of the Third Reich, and as a means of taking a stand against the political climate of the time, and against those in can. Veronika voss It was released in 1982, towards the end of Fassbinder’s tragically short life, when he himself was battling an addiction that soon killed him. Filled with stunning black and white photographs, the film dates back to the Hollywood movies of the 1950s and is the latest in a trilogy of Fassbinder films about the supposed “economic miracle” that was West Germany after the war. Although the film is more accessible than some of his previous works, Veronika Voss still contains many of the predominant themes throughout Fassbinder’s career and indeed throughout New German Cinema in general. These issues include distrust of authority, exploitation of the less fortunate, and abuse of power.

The main character of the film, Veronika, played by Rosel Zech, is a decayed movie star from the Third Reich, now unable to find work and has become addicted to morphine. Rumors abound that she had an affair with Goebbels during the war and, like many of the Fassbinder characters from previous films who frolicked with the Nazis, she is being punished in the karmic sense. Isolated by her fame, she desperately seeks “refuge and protection” from the world. She feels persecuted and defenseless, having completely lost her anonymity. In one scene, she is essentially stalked by a couple of women in a jewelry store, who are relentlessly advancing, searching for an autograph, as she tries to leave. The “protection” he seeks is found in two people: Robert, played by Hilmar Thate, a sports journalist who offers him an umbrella when he sees her standing in the rain, and Dr. Katz, played by Annemarie Düringer, his neurologist, who prescribes the same morphine that Veronika is addicted to.

The Doctor is the root of the corruption in the story, as he not only provides Veronika with the narcotics, but exploits the situation by fueling the former star’s addiction and using that dependency to coerce and blackmail her. So powerful is Dr. Katz’s grip that she forces “her best girlfriend” Veronika to give up her money and property. However, the corruption runs even deeper and, as Robert later discovers, the Doctor has fared much worse with some of her other patients. Once the victims run out of money, they “accidentally” overdose on sleeping pills and “graciously” leave all their belongings to the Doctor. Katz and his cohorts, in turn, live extravagantly at the expense of the addicts they have created. His office is particularly garish for a medical facility with expensive furnishings and decor. Through this corruption, Fassbinder vigorously asserts that authority figures must be questioned and controlled, or those in power will exploit the weak and vulnerable.

Robert is attracted to Veronika immediately after meeting her and believes that he can help her overcome her problems. He discovers the plot, but discovers that not only is he unable to help her, but he ends up making things worse and hurting those around him. They deceive you at all times, mainly because the corruption is much deeper than you think. Upon discovering Dr. Katz’s plan, he turns to a narcotics administrator for help. Unfortunately, this administrator is also involved in the scam, and the schemers can completely frustrate Robert, and even go as far as killing his girlfriend, Henriette, to hide the truth. The police, another authority figure, are completely useless and don’t believe anything Robert tells them. Robert’s defeat is so complete that he loses the two women in his life: his girlfriend and Veronika, who is the victim of one of Dr. Katz’s “accidental” overdoses. Although this seems to imply that Fassbinder feels that fighting corrupt authority is futile, it is quite the opposite. Fassbinder is asserting that the public must not be naive and must understand the level to which corruption can go and the extent to which they must be vigilant to protect their freedoms. Unfortunately this message is lost in the unhappy and morbid tone of the film.

The 1970s were a troubled time for West Germany. With widespread fear of terrorism and communism, the government seized extraordinary powers, which many, including members of the New German Cinema movement, considered too extreme. Many believed that the government was corrupt and could not be trusted. This climate of fear and mistrust of authority is clearly reflected in Veronika voss.

Fassbinder also disagrees with the American presence in West Germany in Veronika voss. The only American character, a soldier, is a drug dealer allied with Dr. Katz. Also, American music always plays in Dr. Katz’s office, but nowhere else in the movie, providing clues early on that something is not right. The implication is that American involvement in West Germany is a large part of the corruption of power that abounds and, furthermore, that the Americans are exploiting the Germans for their own ends and benefits. As the postwar years progressed, many in West Germany began to see the United States as an imperialist power, pulling the strings, and Fassbinder dramatically presents that sentiment in this film.

Veronika voss it is truly a film of lights and shadows. This is evident even in the opening credits, as the black words float across a white surface, casting shadows as they pass. Fassbinder’s use of black and white photography is skillful and beautiful, and each scene is exquisitely and deliberately illuminated. The film is elegant and the contrast between black and white is fully exploited, creating an appearance similar to that of a classic film noir. An excellent example of this is flashbacks, as Veronica remembers better times in her life. They are dramatically lit, surrounding the characters with auras of light and giving each scene an almost heavenly feel. Veronika’s memory of her time in the movie set at the beginning of the movie is the best example of this. The difference is striking when these flashbacks are contrasted with the present, as Fassbinder does at home. In the past it is warm and bright, with different lights and shadows, while in the present the room is completely dark, with covered furniture. Dr. Katz’s office is another example of how Fassbinder uses light and darkness to tell his story. The office is completely white and incredibly bright, but unlike flashback scenes, there are no shadows at all. Even the furniture and appliances are white. This creates a feeling of cold, as if someone is trying to hide the evil within, under a veneer of sterility.

The weak point of this film lies in the characterizations. While the acting is strong overall, none of the characters are likable. Veronika is weak and defenseless, completely dependent and always looking for someone to protect her. This, combined with her self-pity, does little to win her over to audiences. Robert is cold and emotionless, he only has a small outburst from the frustration that no one believes him. He cheats on his girlfriend without thinking twice and does not hesitate to put her in danger. In many ways, he exploits her as much as the other authority figures he’s fighting. In turn, his girlfriend is submissive, allowing Robert to cheat without consequences and basically do whatever he wants. Veronika and Robert’s relationship is also very underdeveloped. There doesn’t seem to be much chemistry between the two and they actually have little screen time together. It’s hard to imagine what Robert sees that convinces him to endanger his own life and the lives of others.

Despite these weaknesses, it is easy to recommend this film to anyone interested in Fassbinder or new German cinema. The film is beautifully shot, with masterful use of black and white lighting. The themes presented are compelling and present a compelling portrait of the concerns of many West Germans at the time it was made, particularly the filmmakers of the New German Cinema. Overall, the movie is well plotted, with a solid mystery, a compelling story, and a strong thematic foundation.