I liked "Veronika Voss" surprisingly much. I saw some themes in there that kept my interest. So far I hadn't liked RWF's films of his last period (that's out of three periods). I especially liked how it took the word "Sehnsucht" literally: sehnen = yearning; Sucht = addiction. It's how I like to ponder on the word.
What I think appealed to Robert about Veronika was her public status. She was a prestigious grande dame, not unattractive and he thought she was rich. Such a person has a special appeal. Robert's girlfriend also understood this appeal very well and almost accepted the situation without putting up a fight. Robert's appeal for Veronika was that she told herself that he was interested in her for her own (fading) beauty, while in reality he did recognize the film star before he offered her "umbrella and protection".
A moment that made me break out in laughter was also towards the beginning when Veronika and Robert are having a drink, he says something like "reality isn't like a movie", she agrees and not even a second later she turns to the waiter and bursts out: "The lighting is hideous in here! Turn those lights off and light the candles!" Also unsubtle but very poignant and a humorous moment.
For a minute I was a bit disappointed when in the film suddenly a villain emerged in the person of the doctor. It wasn't what I wanted from the film, but it unexpectedly actually made this RWF's most suspenseful film because of the second half. I find it to be more of a thriller than 'Martha' was.
The scene with Veronika denying Robert Krohn in front of the police I thought would have made a satisfying and poignant ending but it continued the story quite hastily with Veronika dying and Robert giving up, which eventually also made for a good and probably even more poignant ending.
I'm sure those anything-but-subtle lens flares had their purpose. For Veronika it wasn't just a happy past but she glorifies this time of her life, which justifies this extreme visual effect.
The overall bright B&W photography is excellent eye candy. It's an unusual approach to tell a dark story in so much white and to tell a relatively sober period piece in stark B&W.
What I think appealed to Robert about Veronika was her public status. She was a prestigious grande dame, not unattractive and he thought she was rich. Such a person has a special appeal. Robert's girlfriend also understood this appeal very well and almost accepted the situation without putting up a fight. Robert's appeal for Veronika was that she told herself that he was interested in her for her own (fading) beauty, while in reality he did recognize the film star before he offered her "umbrella and protection".
A moment that made me break out in laughter was also towards the beginning when Veronika and Robert are having a drink, he says something like "reality isn't like a movie", she agrees and not even a second later she turns to the waiter and bursts out: "The lighting is hideous in here! Turn those lights off and light the candles!" Also unsubtle but very poignant and a humorous moment.
For a minute I was a bit disappointed when in the film suddenly a villain emerged in the person of the doctor. It wasn't what I wanted from the film, but it unexpectedly actually made this RWF's most suspenseful film because of the second half. I find it to be more of a thriller than 'Martha' was.
The scene with Veronika denying Robert Krohn in front of the police I thought would have made a satisfying and poignant ending but it continued the story quite hastily with Veronika dying and Robert giving up, which eventually also made for a good and probably even more poignant ending.
I'm sure those anything-but-subtle lens flares had their purpose. For Veronika it wasn't just a happy past but she glorifies this time of her life, which justifies this extreme visual effect.
The overall bright B&W photography is excellent eye candy. It's an unusual approach to tell a dark story in so much white and to tell a relatively sober period piece in stark B&W.