In truth, there is barely enough story here to make a film.

Blistering performances.

Watching it is like watching the spectacle of a class clown at their best: you laugh at their jokes, instigate their defiance, and "ooooh" when they get in trouble.

Blistering performances.

The Red Army Faction (RAF) was a self-described, communist, anti- imperialist urban guerrilla organisation based in the Federal Republic of Germany (West Germany). The RAF had a theoretically superficial Marxist-Leninist set of politics similar to those of Weatherman in the USA and the Red Army Faction in Japan. These were young people, many of them college students, who felt both a guilt about and sympathy for Third World nationalist revolutions; revolutions they believed, were the vanguard of a world revolution which would eventually sweep the 'fascist imperialist' States away.Che Guevara captured what Schlöndorff is attempting to portray in his film concerning the mental spirit of these German student, revolutionary romantics when he reflected on his own audacity and political commitment: "At the risk of seeming ridiculous, let me say that the true revolutionary is guided by a great feeling of love. It is impossible to think of a genuine revolutionary lacking this quality... We must strive every day so that this love of living humanity will be transformed into actual deeds, into acts that serve as examples, as a moving force." Action and audacity were the Red Army Faction's (RAF) strong suit. "The Legend of Rita" (original German title "Die Stille nach dem Schuß" ) is set in the divided Germany of the 70s. Rita is a young fearless romantic in love with a left-wing revolutionary, one Andreas 'Andi' Klein, a guy who is more or less the leader of an RAF group which she is a part of. Their RAF group is armed, ruthless and robs banks to fund 'the revolution'. These revolutionaries naively explain their robberies in terms of 'anti- imperialist' politics : Yes, out loud, to customers as they clean out the capitalist bank vault and cash drawers, with weapons drawn.Adrenal rush and surprise hit one in this film from start to finish. From jail breaks to motorcycle chases, to life behind the Iron Curtain, the film comes at you again and again with images you've been brainwashed to feel uncomfortable with. (Caution viewers: you may feel a violation of your Hollywoodised sensibilities.) You'll also feel the kind of careless courage these young people of the RAF had, as they consciously faced death, even as they reached out for a better life-- actually,a better life for others, mostly. As many, many of the New Left, Rita and her fellow RAF members are motivated to take violent political action in order to assuage a deeply felt guilt about being born in First World privilege. They are more moralists than materialists--romantic poets ready to use murder as a political weapon. In the midst of all this direct, violent action, some of them change, become more hard hearted, mechanically calculating. Rita's boyfriend is one of them and when this happens, love dies. Rita is a lover first and a revolutionary second. In her heart of hearts, she wants to settle down, have kids, a husband, the whole modern suburban dream, albeit in a more egalitarian, 'anti- imperialist' society. Rita wants mutual love more than anything else and as she learns more about the duplicitous mendacity of the coldly calculating political apparatus in both the East and West, she comes to the realisation that political States are always ready to opportunistically sacrifice their oft repeated, propagandised moral goals and callously toss human lives on the scrapheap for political gain. As a result, she grows closer to the only person who ever measured up to her romantic expectations, an East German woman named, Tatjana.Volker Schlöndorff has directed a master portrait of a political situation, a time and a place which is quickly disappearing down the 'memory hole'. Not only are the West German RAF, with their Ton Stein Scherben albums and sneering hatred for bourgeois complacency critically and sympathetically examined; but the 'actually existing socialism' of the DDR of that era is laid bare as well. East Germany is portrayed realistically, down to the last idiosyncrasy, from the near empty roads, to the Radeberger Pilsner, to the workers' apartments in those large, multi- storied college dorm-like buildings in urban East Berlin. This portrait will disturb long held mainstream 'Time' magazine inspired conceptions of East Germany, some would say, 'with extreme prejudice'. Rest assured, the film's honesty extends across both sides of the East/West border. Far from revolutionary or socialist, most of the citizens of the DDR are portrayed as being quite conservative, endorsing whichever police are in charge of the political State. The point is hammered home at the end of the movie, when the fall of the Wall in 1989 is portrayed; a time when Rita and her audience are supposed to come to the realisation of just what die Stille nach dem Schuß entails.

'the legend of rita' is an unfortunately choice of title when compared to the German 'die stille nach dem schuss'. The film is about how members of small armed revolutionary groups come to terms with what remains of their lives ('die stille') between/after periods of action ('dem Schuss'), not principally about one person, let alone their 'legend', even if there is only one character who is continually present.Since the group in question hides out for a period in the ddr, a number of occasions arise in which the politics of armed guerillas and that of the ddr are compared, and both appear a long way off the kind of broad participatory socialism they are often mistakenly taken to aspire to. The exchanges between the main stasi officer and rita about the role of violence and the state are particularly priceless.

this film is about a fact discovered after the changes of 1989, namely that the remaining unfound RAF terrorists have been hidden in the DDR.Schlöndorff has considered many details very well. although he never tells the "true" story i could tell most of the time which historic fact he had in mind, and i remembered many things i myself had read in the newspapers at the time these events had been in the news. the only thing i am not sure about is wether the west actually did know all the time. sounds a bit like conspiracy. maybe "we" did and wanted to avoid "trouble", as so often. the ending is very stupid and easy, like often in Schlöndorff-films, i regret to say. so i was a bit angry when i walked out the cinema. but still i think every German interested in his country's history (and i believe it is the duty of Germans to interested in it!) should watch this movie in order to also consider this last "east"-chapter of RAF terrorism. the last "west"-chapter was the dissolution of the AIZ and Bad Hersfeld. my recommended reading is: Der Baader-Meinhof-Komplex by Stefan Aust.

Maybe it's the cultural specificity of the piece, but somehow Volker Schlondorff's "The Legends of Rita" fails to hit the right emotional chords, where essentially the film's humanism-over-politics thematics want to evoke in the audience. Don't get me wrong, "Rita" is an excellently crafted film, subtle and never forceful. The film succeeds above and beyond expectations in its depiction of the latter years of the GDR, portraying an ideologically bankrupt nation whose environments and inhabitants seem to be caught in a state of limbo. Perhaps Schlondorff's acquiring of the former DEFA (and UFA before it) Babelsburg studios is the main reason for the authenticity of his vision of the former East. As well, this is a departure from the realm of fantasy that Schlondorff had probed history within in such works as "The Ogre" and "The Tin Drum." Instead, as with Bertolucci's "Besieged," the director has returned to his roots in filmmaking and provided a once-again fresh, verité aesthetic. This could very well be a companion piece to "The Lost Honour of Katharina Blum," although, as I mentioned earlier, the emotions fall flat here, failing to deliver an ultimate, devastating "punch."