Horst in Translation ([email protected]) "Banklady" is a German movie from 2013 that was directed by Christian Alvart, one of the most known popular filmmakers in Germany currently and written by Christoph Silber and Kai Hafemeister. I must say I was not familiar with the title character before watching this one, but now after some research I see that she was Germany's first female bank robber roughly 50 years ago. There were documentaries made about her on several occasions, but this feature film here is probably still the most known in terms of dramatic movie-making. The IMDb photo actually looks a touch comedic, but it's really mostly a crime movie, with some drama too. No idea why lead actress Nadeshda Brennicke is not credited first, but instead Ken Duken, who plays the detective looking for her. Duken is also the film's biggest weakness. The performance is over-the-top in a way that him trying to go bad-ass is sometimes actually painful to watch. Then again, I may be biased as I never saw a lot of range or potential in Duken.Brennicke as the lead actress is so-so. I must say a more talented actress could have made much more with the character here I am sure, but she is also not bad. But awards-worthy? I don't know. Hübner is the only major cast member I would call myself a bit of a fan and he is okay for the most part, but also far far from some other very convincing performances from him in terms of the quality. Unfortunately, I must say that they did not make much of this story. And it is another disappointment by Alvart. This could have been a really intriguing edge-of-seat watch here, but there were not that many good scenes as there could have been, which is especially disappointing for a film that runs for almost 2 hours. Not only does it lack focus, but sometimes the film loses itself in wild car chases and spectacular shooting instead of delivering creative quality. The first half is better than the second half as this one has some real character elaboration and character development, but I guess they intended to make it showier by including style over substance on many occasions eventually, so more people would want to see it at a cinema. For me personally, this was a deal breaker and I think it was a missed opportunity. The topic and character offered so much more and they came very short overall. Not recommended.

kosmasp This is based on a real story, though as always I'm sure they took some liberties with the truth to create more tension or just the right amount of it. The police is not only portrayed as incompetent, but also as crazy. Our heroes are insane too (to a certain level) and therefor it's tough to really root for someone.The Banklady gets our sympathies to a degree and there are some moments where we almost lose our faith in her, where they give her a line to pull as back in. The performances are really good, Ken Duken has one of the toughest jobs to pull off (it's a fine line, though at the end even he's not able to keep it in line, up to that point, great job though). It's a decent movie, that ticks off the right boxes with a twist towards the end that's sort of unbelievable to say the least

R. Ignacio Litardo Best films are like love affairs. Some work right from the start, get you carried away, and while they last you just don't know what hit you. This is one of those films.Montage, music, Art direction -those buildings! women's dresses and hairdos!, everything works towards the flow of the movie, never distracting from the main goal, that is entertain us with a couple of lovable delinquents. Love and sex are not what ties them together. Probably Gisela wanted to escape the dull routine of the factory, and Messieu wanted the thrill, as any psychopath. Roger Ebert already wrote better than anybody on why do we like people on the big screen that are not exactly role models, so I won't deal with that thorny issue here. I want you to watch this film and enjoy it as I did.IMDb reviewer Ralfscheapthrill put it down perfectly: 'pre-68- melancholia and lust for life'. 2 more great reasons x watching this gem.I've got a couple quibbles. Nadeshda Brennicke is too nice and attractive to be a factory worker, same goes x Henny Reents, probably Kommissar Fischer and her secretary too. It also happened in 'Monster' when, as in this film, when you saw the pictures of the real criminal, they were not alike. And the scene of the bank shooting, Gisela showing empathy x the victim, has so many troubles that it would be tiresome to mention them. This film made me happier after having watched it, its powerful images remained on my memory the next days, and probably won't be forgotten. The seaside resort with the lady jumping out of the roofs as the quest for liberty, our own one, is my favourite scene. And Gisela clad as Banklady at the costume party from the factory. Or the proposal. Dialogues are also well crafted, the audience cracked at some jokes. Like the answer to the lady who lost her dog at the shooting, funny because Germans can be so formal when they want to, thus creating contrast. Or how Gisela replies to the marriage proposal in the last bank robbery. Secondary characters do have a role, like Gisela's unlucky 'boyfriend' and Fischer's grouchy boss, relentlessly effective at bullying the obsessive Kommissar. This film is enjoyable like a bubble bum and well made as a Mercedes. I can't see why some critics didn't like it.PS: Gisela's mum saying matter-of-factly what she has to do when Fischer raids their house only makes me wonder how Germans and a few other selected countries like Japan are so different from the rest of us, how they value honour and the social regard, the way they see crime as something that's bad, period.

Ralfscheapthrill In the aftermath of "westgerman wirtschaftswunderzeit" a young girl's dreams got trapped between the low expectations of her parents, her fiancé (who promise her almost with tears of joy in his eyes: a brand new washing machine, so that "she doesn't have to wash his clothes by hand, anymore") and all the sweet promises of modern life. It's like a Trümmerfrau's daughter wants to climb through Hamburg's shop windows right into the consumer's wonderland. All of a sudden a buddy of her fiancé show's her how to do it. Gisela got her gun - they rob banks for fun and fortune and, at least for her and her slightly naive adaption from magazine's front pages, for fame. Gisela became Germany's first postwar female bank robber. This is based on a true story but full of links to the present as well as it sketches a certain 60's pre-68-melancholia and it's lust for life pretty well. A number of critics in Germany put it down for not giving the "German answer to Pulp Fiction or Bonnie & Clyde". Though it's a thought worth, if Christian Alvart's ambition to make a low budget production look like a bigger budget production sometimes gets him out of focus of what he really wants to tell, it's still a pity that German critics once more stick to their own, often quite limited expectations and show no interest in a perspective that might differ from their own. This is a vision of it's own inside the genre, not a failed pastiche or "answer" at all.