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I like the storyline of this show,it attract me so much

A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

The acting in this movie is really good.

One of the worst ways to make a cult movie is to set out to make a cult movie.

The 105-minute "Die Sehnsucht der Veronika Voss" or just "Veronika Voss" is a Rainer Werner Fassbinder film from 1982, almost 35 years old and among the finals works by one of the most successful German filmmakers. He died the very same year an untimely death at under 40. The title is a giveaway as these Fassbinder films usually include female characters and always sound a bit pretentious. For him, it was a return back to the roots as he started his career 15 years earlier with black-and-white films and this one also lacks color. 4 cast members received German Film Awards nominations here, but nobody won and this includes the late lead actress Rosel Zech and also Hilmar Thate, who I usually quite like. But sadly, I felt he was mostly forgettable in here just like Zech and many other aspects from this movie. It is about the fate of an actress who seems to struggle in keeping her career going or even in terms of improving it. We are told about her fate in terms pf professional life and private life, when she is on the lookout for love. Will she find success in either of the two areas? Or will it end in disaster as it sometimes does in Fassbinder films? Watch for yourself. Or don't as in my opinion, this film is far away from Fassbinder's most convincing works. Then again, I am not the very greatest fan of the man's films, so maybe you will think differently here. However, if you have seen nothing from the man don't start with this one. It is not easily accessible at all. Thumbs down from me.

This was my introduction to the works of Rainer Werner Fassbinder & only one of a short selection of New German Cinema I have seen.Immediate thoughts were that the direction is nice, Fassbinder has a fascination of adding touches such as shooting from behind objects such as windows and walls and framing the scene within this context as well as lots of interplay with shadows. The black and white is used to a really good contrast and if anything the film is pleasing to look at. Scenes with the leading lady have glitter shining off her jewelery and it looks like you would expect fame in all its superficial but alluring glory.The soundtrack is great, I get off on detail in this area and radio interludes constantly playing in the background a'la Midnight Cowboy along with well timed emotional musical cues are very effective. A few songs are highlighted in key scenes such as some twangy country music and the beautiful vocal number towards the end which provides quite an impact on the senses.The thing that really lets Veronica Voss down is the story, its good but its just not very interesting. A sports reported has an affair with a fading actress, who is involved in a plot by a neurologist that hooks rich patients up with morphine to get their trust and eventually their fortune when they die. Now... it sounds workable and it is. But its rather plodding how it is played out, although the actors are fantastic and do a great job portraying their characters it all feels very superficial and it is hard to sympathize with their plight. Some might argue that this is the intention of the film maker to get across the superficial nature of actresses in general but it doesn't feel so convincing to me.In short Veronica Voss is a feast for the eyes at times, and the soundtrack is excellent but something feels a tad hollow. Most of the appeal seems to come from that it shows off the era, and well I can respect it for that.

Thsi is a wonderful noir by Fassbinder that recalls the classic film actors more than it does the gritty analyses of post war German economic success that he gave us in Lola and Maria Braun. I thought about Wilder's Sunset Boulevard, Preminger's Laura and Hitchcock's Notorious... anything but a remake of a drug-addiction film.Rosel Zech as Veronika Voss is wonderful; her wistful faded elegance in the scenes with Krone is memorable. Hilmar Thate plays a reporter who's in over his head trying to write about a faded film star, as his editor reminds him; it's a performance that reminds me of Dana Andrews in Laura. The cinematography by Xaver Schwarzenberger is superb: the rainy night scenes and the glaring white of the clinic were very well rendered.

Beautifully photographed in simple black and white, with some lovely gliding shots and some interesting camera angles and framing, the film is an amazement on a visual scope, even if the screenplay and acting are nothing special. Fassbinder's choice of lighting is excellent, giving true stark contrast between areas of black and areas of white in certain scenes. Sound is a significant aspect too, with soft radio recording heard in the background of just about every scene. The meaning behind such an audio style is not clear, but still it provides an interesting feel if not much else. As already alluded to however, the technical aspects outweigh the rest of the film. It is a rather cold tale with awkward characters, which are hard to sympathise with. Towards the end it also goes off on a bit of a tangent, from being a drama to a thriller. The film definitely seems more dedicated to its style than its substance, but that only makes is a certainly degree less fascinating to watch. The style quite literally sparkles and the film applies a few interesting editing tricks to change from scene to scene. If not involving as a tale, it is nevertheless great "eye candy".