Rainer Werner Fassbinder always made movies as if he knew his was on borrowed time. Many of the 44 films made by him in his 16-year career represent searches, experiments, attempts to express himself as an artist in the most diverse cinematic ways. 'Lili Marleen', made in 1981, the penultimate year of his life, belongs to a cluster of several films that are apparently less radical than most of the others and closer to mainstream cinema. After the success of some of his movies in previous years, Fassbinder was able to secure financing for more expensive productions with international casts and many extras. He chooses to make 'Lili Marleen', a story woven around the famous song that sounded in the trenches of the Second World War, both German and Allied (one of the famous versions belongs to Marlene Dietrich) and somewhat inspired by the autobiographical book of Lale Andersen, the German singer who first recorded the song on disc. Apparently, it is a melodrama that improbably embellishes her biography. In fact, we also find in this film the story of a woman who has to face alone the dark forces of the surrounding society combined with Fassbinder's sarcastic vision of the history of 20th century Germany.
The film's lead character, Willie, is a blonde, Aryan, German singer who doesn't seem to know or care much about what's going on in Germany in 1938. She performs in a cabaret in Zurich and falls in love with Robert, a wealthy young Jew, whose family is involved in the anti-Nazi resistance fight and in the rescue of the remaining Jews in Germany. Willie's father opposes the relationship and maneuvers so that the young woman cannot return to Switzerland after a trip to Germany. Forced to earn a living in Nazi Germany, Willie records the song 'Lili Marleen', which after the outbreak of war and the occupation of much of Europe and North Africa by the Nazis becomes a hit listened to by German soldiers and later by the Allies when they will disembark in Europe. The relationship between Willie and Robert continues, and the singer, forced to make artistic compromises and collaborate with the Nazis, begins to open her eyes and get involved in the fight against Nazism.
As in many of Fassbinder's films, the female characters are much stronger, more nuanced and better defined than the male characters. The lead role is interpreted by the exceptional Hanna Schygulla, Fassbinder's favorite actress. Her Willie is carefree at first, eager to live her life, a fighter for survival using her art and feminine charms as weapons. Above all, however, she is in love, but times of war crush destinies and love stories. Robert and his father are ambiguous characters and Fassbinder has been criticized for this, but also for nuancing the characters on the other side of the conflict, the Nazi officers. My opinion is that artistically the choice was appropriate, and the film must be seen from the director's sarcastic perspective, fascinated but also critical of the anti-cultural kitsch of 20th century Germany. As in many of his other films, Fassbinder also appears in a cameo role, as head of the anti-Nazi resistance, perhaps also to emphasize his personal position. 'Lili Marleen' is a film less appreciated by critics and Fassbinder experts. I consider it among his best films.
