The Fan

"Der Fan" is a bone chilling and thought-provoking film about teenage obsession and the gradual descent into social isolation, despair and slow brooding insanity. Simone is a pretty young girl whose entire universe spins around a pop-singer named "R". She talks to him in her mind, fantasizes about their utopist future together, eagerly awaits letters that never come and completely neglects her school work and social life in favor of dreams about him. Simone eventually takes the initiative abandon everything without notice and hitchhikes to Munich in order to meet him at a concert. She finds her beloved "R" and, for a brief period of time, all her dreams come true as he fancies her, albeit guarding a haughty distance. But, of course, now that she finally found him, Simone isn't prepared to share her lover with the rest of the world anymore … "Der Fan" is an unimaginably slow-paced film and – please – don't immediately start to question it's cult reputation upon noticing absolutely nothing significant happens during what appears to be the entire film. Believe you me; it's all just patient and awkwardly uncomfortable building up towards one of the most shocking and revolting climaxes ever. This was an incredibly controversial release back in its home country Germany, and it's not too hard to see why. Without revealing too much about the infamous denouement, I can safely say this girl Simone single-handedly gives a whole new dimension to the term "obsessive groupie". Désirée Nosbusch gives away a hugely impressive performance as Simone and undeniably the other biggest strong point of the film – apart from the ending of course – is Rheingold's prototypic 80's electro pop music. If you're familiar with the oeuvre the relatively known 80's band Kraftwork ("The Model", "Autobahn", "Radioactivity"), you know pretty much what to expect. "Der Fan" isn't a movie for all tastes but certainly a curious collector's item for the more avid and open-minded cult fanatic to seek out.

Doleful, onerous portrait of an obsessed fanatic which is entirely encompassing despite its glacial pace. A mildly dissociative schoolgirl grows increasingly entranced by a popular music artist(a very early '80s Kraftwerk-style fellow), and sets forth with determination to become his lover. Through the course of her efforts, she eventually finds herself in his bed...but when she is handed her wham-bam-thank-you papers, her moment of happiness turns to shock and dismay. Things are far from finalized, however, as the closing moments of this film illustrate in a rattling climax which brilliantly rectifies the brooding monotone of its creeping buildup.

A diagnostic rumination on fanaticism which is stylistically rather dated, yet nonetheless quite penetrating and recommendable.

6.5/10.

I knew the music to this film for many years before I finally saw the film itself. I had discovered the hypnotic soundtrack by Rheingold on a second-hand LP and have had it on heavy rotation for many years. It's one of the best albums I know.

The music is certainly one of boons which helped to put this movie into another class and make it a classic. Hypnotically slowly, it follows the development of a teenybopping waif's obsession with a pop star spiraling out of control. It's one of those movies which you kind of have to see in a cinema because on TV you'd zap away after 10 minutes. But it richly rewards your for its slower moments.

Apparently there was a lot of controversy around lead actress Désirée Nosbusch's nudity scenes, which are admittedly surprisingly crass. But they are not exploitative and absolutely gel in with the movie. Kind of ironic that immediately after this scene there is one of extreme violence which went practically unnoticed by the public. A nice society we're living in.

It's very respectable that the director fought to keep these scenes in, as they are essential to the escalation of the story. They are actually a good example of how those scenes should be done realistically but without becoming pornographic or voyeuristic. It's a big fat shame that this controversy tainted the reception and popularity of this great movie.

And by the way, other than is often stated, the affair between star and fan doesn't end with the star "dropping" her after a night of carnality. It's not a case of "find'um, furp'um and flee". R. merely returns to his reality whereas Simone stays locked in her fantasy world.

Some tidbits about this movie: R. is actually played by the singer of the band Rheingold, Bodo Staiger, which furnished the soundtrack. The actress playing the fan, Désirée Nosbusch, was at the time already a popular "VJane" (i. e. hostess of a music show like the one that is shown in the movie). And the host of the TV show which Simone watches with her parents at the beginning of the movie is played by Joachim "Blacky" Fuchsberger, who in real life was the most popular TV host in Germany at the time.

First, lets get the fact that the electro soundtrack here is one of the best scores ever. Like EVER! And since this centers on a pop star it's pretty important. There's a repetitive style that works well with the leads repetitive obsession with her letters.

The story and performances are splendid and the ending works just fine for me. It's a story about depression and identity -- deserves a Gen Z following.

Désirée Nosbusch stars as Simone, a teenager obsessed with pop star R (Bodo Steiger). She writes him professing her love and waits obsessively for his reply. When none comes, she travels to Munich to confront him in person. They meet and seem to hit it off, but things do not exactly go as anyone would have planned them. This is a cold, somewhat alienating film that I have to say I really enjoyed. All the performances are subdued and quietly driven, and the film pulses with a synth score by Rheingold that also stands in for R's music. It all leads to an inevitable, but still somewhat surprising brutal end.