A Nobel prize-winning writer, Böll had composed an exposition scrutinizing the Bild-Zeitung (the generally circled every day tabloid that was the trade bovine in for spendable dough the yellow press realm of Axel Springer) for fanning mass craziness with its scope of the Baader-Meinhof group. The paper then marked Böll a terrorist sympathizer, and he and his family were subjected to police provocation, hunts, and wiretaps. Bölls reaction was to compose The Lost Honor of Katharina Blum (subtitled "How Violence Can Arise and What It Can Lead To"), about a young lady whose life is crushed when the police associate her with harboring a terrorist (Taubin, 2003).
As Katharina is dragged into cross examination and mortified by the police, its unimaginable not to consider this in light of all around archived treatment of ladies in the wake of sex outrages and assault allegations. These points and appeals highly stress the film’s feminist orientation. The specialists tear separated her loft, address her thought processes and history, and make intimations about her. They dont such a great amount of ask as interest, such a great amount of test as demand. She is blameworthy not until demonstrated pure, but rather essentially liable. As an inseparable unit with the states power goes the press, sensationalizing, lying, and talk mongering. This is an immediate analogy for the way ladies are slut-shamed, disgraced in private and open, and as the film advances, it weaves into it layer upon layer (Black, 2015).
Some of political movies rise above their historical minute. Yet viewing Volker Schlöndorff and Margarethe von Trottas The Lost Honor of Katharina Blum today leads to the powerful experience. There is little contrast between this portrayal of West Germany in 1975, when the nervousness about terrorism disintegrated essential majority rule values, and what we are afraid of is going to happen — might undoubtedly be now happening —