Drama - Pre-Production 2013

Lale Anderson - singer of Lili Marleen, the most famous song of the troops in all fronts - flees into a wild romance in a trip to Belgrade, in order to free herself from the clutches of the Nazi regime, to which she herself became an unwanted messenger. A story ofterror, rebellion and endless love.

    • Year of production
    • 2013
    • Genres
    • Drama
    • Countries
    • Languages
    • Duration
    • 90 mn
    • Director(s)
    • Renato NOVAKOVIC
    • Writer(s)
    • Djordje KADIJEVIC, Miodrag ILIC, Renato NOVAKOVIC
    • Producer(s)
    • Nicholas CONRADT (insane4frame GmbH & Co.KG), Zoran OTASEVIC (Magna International)
    • Synopsis
      A fictional story, of the life of Lale Anderson. The journey, that should have happened. The German singer Lieselotte Helene Berta Bunnenberg (1905-1972) makes her mark als Lale Andersen in art, or even all history, with the song Lili Marleen, “the most beautiful love-song of all time” according to John Steinbeck. Starting in the Belgradian military radio station and moving on to all fronts, from Narwik in Norway to Cairo in Egypt, from London in Britain to the soviet Stalingrad, the song is ultimately heard and loved. However, Lale Andersen is sad, feeling the sorrow of being misused as a tool and lacking the satisfaction of a great love, which belongs to the swiss-jewish artist Rolf Libermann. She feels more and more that the Nazis are turning her into an accomplice of their deeds by making her art their own, perverting it along the way. She thus unwillingly becomes an effective tool to a dictatorial evil, making her come to the conclusion that in a progressively dehumanizing world, there simply is no more place for humanity. Her desolation pulls her into an ever growing depression. The film traces a fictional story of Lale Andersen’s arrival in 1942 Belgrade in a forced guest-appearance in service of the Nazis, where she meets Dusko, a Serbian pianist whose goal is to conquer all women and doesn’t care for the ever growing tension, in part due to a planned rebellion against the Nazis. However, upon their first encounter, a spark flies between them. An erotic spark, motivated by entirely different things among them. Andersen, a young and sensible artist, looks for a peek in the forgotten, even if it becomes a short-termed escape from reality. It soon becomes the search for an, if even possible, constant resource for redemption and salvation to a once-believed reality. For Dusko, it starts as just another example of his unquestionable manlyhood, a sign for his rebellion, as well as his “successful” ability to escape reality. As it happens, reality does not relent to violence or wishful thinking, and when it strikes, there’s no turning back. The Serbian rebellion starts to apply pressure on Dusko, forcing him to kidnap the “Nazi-whore”. The Nazi’s apply their own pressure on Lale Andersen, pulling her out of her cage, using her for more malefic services. Their love finally develops in the most unlikely of situations, where their inner selves are tested and awoken through their own humanity. Dusko finally denies providing assistance in the rebellion’s efforts, which proves his first decision in life where his priorities are not placed before someone else’s. He even places himself between the nail and the hammer by going against everyone and fleeing with Andersen. They flee in a borrowed, temporary reality which ends in a forced separation and a painful goodbye.
      Of course, the film follows the fate of other parallel story-lines. The reductionistic psychological deconstruction of rebel- fighter Ilija, whose one-track-minded ways of thinking and acting are driven by a questionable ideology which might not even be his own. Opposing him is Dusko’s musician colleague Toma, whose sacrifice is exercised for his friend’s sake, not for an ideology's. Finally, closing the circle is the development of the relationship between Infantry Major Heffner and SS-Standartenführer Förster, the former a law-professor in civilian life and the latter a strong Nazi-fanatic with even more questionable ideologies than his adversary Ilija. The German-German duel is finally proven to have Heffner as victor, who stays true to his humanity and proves to simple be the better man, confronting Förster with the fact that they simply don’t belong to the same country.
    • Beginning of shooting
    • Mar 01, 2013
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