Katharina Thalbach Movies

Johann Wolfgang von Goethe (1749-1832) was the author of Werther, the romantic novel that was transformed into a play during Goethe's lifetime and which initiated the whole German romantic movement. The book's story tells of young love and suicide. In this East German film, based on a book by Thomas Mann, Lotte (Lilli Palmer) was the woman who served as the model for the heroine in the novel Werther. She comes to Goethe's hometown for a visit, and her experiences there eerily re-create episodes from the book. Goethe comes across as a pompous old bore, and his friends as pandering sycophants, in this very proper communist party-sponsored, anti-heroic movie. ~ Clarke Fountain, All Movie Guide

The West German The Second Awakening of Christa Klages (Das Zweite Erwachen der Christa Klages) stars Tina Engel in the title role. Unable to pay the rent on the day care center that she operates, Christa steals the money from a bank, then tries to cover up her crime by passing the money off as a church donation. When the priest will have none of this, Christa and her accomplice, Werner (Marius Muller-Westerhagen), go into hiding. Werner is killed in a police ambush, whereupon Christa moves to Lisbon in a vain effort to start her life anew. Broke and dispirited, Christa returns to Germany, where she is promptly arrested, but that is far from the end of her story. ~ Hal Erickson, All Movie Guide

In Volker Schlöndorff's award-winning adaptation of Nobel Prize winner Günter Grass' allegorical novel, David Bennent plays Oskar, the young son of a German rural family, circa 1925. On his third birthday, Oskar receives a shiny new tin drum. At this point, rather than mature into one of the miserable specimens of grown-up humanity that he sees around him, he vows never to get any older or any bigger. Whenever the world around him becomes too much to bear, the boy begins to hammer on his drum; should anyone try to take the toy away from him, he emits an ear-piercing scream that literally shatters glass. As Germany goes to hell during the 1930s and '40s, the never-aging Oskar continues savagely beating his drum, serving as the angry conscience of a world gone mad. The intense and visceral Tin Drum was one of the most financially successful German films of the 1970s and won the 1979 Oscar for Best Foreign Film and the 1979 Golden Palm (which it shared with Apocalypse Now). In the late '90s, the film became the center of a censorship controversy when some U.S. videotapes were confiscated because of the film's supposed violation of a child pornography statute. ~ Hal Erickson, All Movie Guide

The subject of this historical drama is a splintering Berlin in the years of 1948 and 1949. Played against the backdrop of social upheaval, the characters in the drama come to epitomize the best and worst of each pole of the political sphere. A 17-year-old hoodlum by the name of Gladow (Ullrich Wesselmann) works hand-in-glove with a local white-collar criminal to rob and pillage every day and night, defying capture. While he and his gang of thugs are terrorizing the people of Berlin, the Soviets are trying to make the blockade of their region of control impermeable. The future casts long shadows over the drama, as Berlin's problems take the shape of times to come. ~ Eleanor Mannikka, All Movie Guide

The year is 1947. Aspiring southern author Stingo (Peter MacNichol) heads to New York to seek his fortune. Moving into a dingy Brooklyn boarding house, Stingo strikes up a friendship with research chemist Nathan Landau (Kevin Kline) and Nathan's girlfriend, Polish refugee Sophie Zawistowska (Oscar-winner Meryl Streep). There is something unsettling about the relationship; Nathan is subject to violent mood swings, while Sophie seems to be harboring a horrible secret. Stingo soons learns that both Nathan and Sophie are strangers to truth; the audience is likewise led down several garden paths by a series of sepia-toned flashbacks, depicting Sophie's ordeal in a wartime concentration camp. The scene in which we discover the facts behind Sophie's "choice" is a gut-wrenching one; it might have been even more powerful had not the film taken so long to get there. It is betraying nothing to reveal that the character of Stingo is the alter ego of William Styron, upon whose best-selling novel the film was based. The film is rated R, due in great part to a disposable scene wherein Stingo tries to put the make on a "liberated" female intellectual. ~ Hal Erickson, All Movie Guide

In another 1983 cinematic projection into the future like Pankow 95, director Richard Blank portrays a cold and oppressive German world where a woman is picked up and put into an asylum. The practice in the asylum is to electrocute prisoners in a large restaurant-type setting -- and since the woman has no desire to be publicly zapped into oblivion, she takes up with a guard who has fallen in love with her and the two escape. While away, they travel to various places, and the woman continues to look for her brother -- whom she finds but then sees him apparently commit suicide. All of this, and the rest of the film, move forward by inches at a time, creating a dull effect that dims the story, a story that leaves more than one question mark as to its meaning or purpose. ~ Eleanor Mannikka, All Movie Guide

This film by Doris Dorrie concerns two men who fight over one of their wives. Angelica (Sunny Mellis) is a fairly conventional housewife who is concerned about her marriage, because her husband Victor (Heiner Lauterbach) has been ignoring her. So Angelica calls in a remedy, her petite friend Lotte (Katharina Thalbach) to light some fire under Victor. Lotte has no problem in doing that, because she enjoys the result, but this time the fire turns into a conflagration that runs out of control. With Lotte taking off from the incendiary effects of her actions and Victor obsessed with chasing after her, Angelica's original problem is reversed, and now Lotte is suffering the consequences. ~ Eleanor Mannikka, All Movie Guide

Alex (Kari Vaananen) is a Finnish cabbie working in Berlin with plenty of problems in this comedy with film noir touches. With two dead men and a suitcase filled with hundred dollar bills, he has difficulty disposing of the bodies. He is chased by the top crime boss (Samuel Fuller) and his crony (Eddie Constantine). Alex's wife is allergic to the money, so the cabbie endures more than he can handle trying to rid himself of the cash and the corpses. ~ Dan Pavlides, All Movie Guide

Otto Sander plays a German film director who shows his films to a skeptical panel of censors in this satire. He unspools the reels of his work in front of officials and religious leaders who make up the censorship board. Many filmmakers' and celebrities' faces familiar to German audiences appear in the film. One of the most memorable scenes involves a line-up of well-known directors awaiting their own appearance before the unforgiving board. ~ Dan Pavlides, All Movie Guide

Follow Me takes place just after the Russian suppression of Czechoslovakian freedom of expression in the spring of 1968. Pavel Landovsky plays a liberal philosophy professor who continues teaching forbidden classes in his apartment. When things get too hot for him in Prague, the professor decides to head for Western Europe. Alas, he is detained indefinitely at a German airport, where he takes a job as baggage handler in order to survive. While in these reduced circumstances, the professor befriends several other political exiles, whose individual stories are related for our benefit. Follow Me was the second directorial effort of Maria (Lieber Karl) Knilli, who co-wrote the perceptive screenplay with Vera Has. ~ Hal Erickson, All Movie Guide

This historical drama chronicles the struggle of Swedish businessman Raoul Wallenberg (Stella Skarsgard), as he fought valiantly to save the lives of the Jewish residents of Nazi-occupied Budapest. ~ Iotis Erlewine, All Movie Guide

Director Peter Sehr offers here another version of the origins of Kaspar Hauser, one of the most enigmatic characters in German history. According to this film, the title character is the real son of Duke Karl of Baden. Karl's brother Ludwig wants the throne for himself so he secretly orders a dying baby to be exchanged for the newborn heir. The real baby heir is promptly sent with a nurse to the countryside, but then is kidnapped by the Bavarians who are antagonistic to Baden. After Ludwig becomes a ruler of Baden, the young boy is kept in a cellar by the Bavarians, and then in 1828, after 12 years of confinement, he is brought to a square in Nuremberg in the early morning and left there alone. Unable to talk or walk, the young man is given the name Kaspar Hauser and is brought to the home of the kind professor Daumer, who teaches him to talk and introduces him to a civilized life. However, while the tension between the two rival countries increases, Ludwig of Baden sends his spies to seek out and eliminate the missing heir. Unlike Werner Herzog's The Enigma of Kaspar Hauser, which treated the leading character as a mysterious man of the universe, this is a rather straightforward tale of political intrigue, where Kaspar is merely a pawn in someone else's wicked game, and the film barely rises above the level of a beautifully crafted costume drama. ~ Yuri German, All Movie Guide