bon Half fiction, half documentary, Rosa von Braunheim tells the life and career of pop star Rex Gildo. It is a story of triumphs and falls.
A fateful encounter in the men’s fashion department of a department store in Munich. Young Ludwig Franz Hertretter meets film producer Fred Mikli. Mikley sees the potential for a business career to be showcased in the seller of the lawsuit. Just as “Colonel” Tom Parker did on a global scale with Elvis Presley, Meckley is molding his pupil into a star. With one key difference: Mikley and pop singer and actor Rex Gildo (1936-1999) were lovers at a time when homosexuality was punishable in Germany and was largely taboo in society.
the last dance
Director Rosa von Braunheim tells in “Rex Gildo – The Last Dance” half-fiction and half-documentary about Gildo’s life and career, about the ascent to heaven, accidents, depression, alcohol and drug addiction. And from October 23, 1999, when Gildo last appeared in public in Bad Vilbel in a furniture store in front of 3,000 visitors. In the evening of the same day, he fell from a window on the second floor of his apartment in Munich. Three days later he died.
The film, which fuses its theme with contemporary history and the gay condition, begins in an emotional and musical way. Gildo appears with jet-black hair, sparkling white teeth, white bell bottoms and a jacket, and sings his 1972 song “Fiesta Mexicana.” The quartet’s “Hossa! Hossa! Hossa! Hossa!” opens with a life-affirming song celebrating dimension. This reflects the shimmering surface of a life under the lights characterized by theatrical representation, role-playing, deprivation and lies. Gildo, who blurred the image of the couple in love with his singing partner Jet Hanning and later married his cousin Marion Heartter, couldn’t have been more. In a game scene, von Braunheim introduces three old women walking in front of the grave in Munich’s Ostfriedhof: three super fans who accept only Gildo’s official portrait and criticize the director: “Rosa von Braunheim, you old pig.”
“Have you ever had sex with Rex?”
On the other hand, contemporary witnesses such as journalist Gudrun Gloth publicized Gildo’s existential dilemma: “It was important for him to say: I’m not gay at all.” Vera Chichova, Connie Frobus, Costa Cordales, Cindy (without Bert) and Bernhard Brink have their say. and Jet Hanning, who has no answer to the question “Have you ever had sex with Rex?”
Kilian Berger and Kai Schumann move in as young and old Gildo, Ben Baker as Mickley and Sisdell Hindhede as Jetty Hanning in a fantasy and stylized setting as Fassbinder. They are protagonists in the quintessential drama of a man experiencing loss at a young age (mother dies when he is 13), who loses the love of his life (Matt Mickley in 1988) and is forced to reinvent himself as a womanizer again and again, sending sexual signals to Female fans in pinned poses and tight swim trunks. As success waned in the ’80s, the perennial brown man with black wig looked to many like a caricature. Loneliness is the main theme of the film, which conveys insight into Strobing’s son born to the postal captain: “I never had a real father.” Mickley, it is said, was his “protection and umbrella.”
The singer must have found old age rude. Kai Schumann expresses his suffering. No more sign of “Share it! Period! Period! Period! (cinema in the bread factory)