Hostage is a poorly acted and executed mess. There's almost nothing to like about the film, almost. It does have staying power however and is based on a true story.

While working at an amusement park in Australia, Christine starts a relationship with a German man, Walter. She marries him and has a child with him. When an job opportunity presents itself, Walter and Christine move to Germany. There his deepest, darkest secret is revealed: he's a fervent neo-Nazi. Appalled by this revelation, Christine's life, and that of her child, are now in danger. Based on a true story but you wouldn't think so. Yes, the story is quite extreme but not implausible. No, it's more the way the story is told that makes it less than believable. There's a B-grade quality to proceedings that make it seem cheap and cheesy. Direction is pretty unimaginative and performances are quite hammy. Ralph Schicha as Walter is the worst of it: absurd overacting. Kerry Mack's performance as Christine is actually semi-decent. Supporting cast are so-so. With a bit more edginess, tension and engagement this could have been a fairly decent film. Instead it's quite flat, even dull despite the storyline.

Hostage (1983) ** (out of 4) This movie is based on the true events of Christine Maresch (Kerry Mack) who ended up marrying a man named Walter (Ralph Schicha) and turn her life into a living hell. Before you know it they have a child but Walter turns out to be a Nazi sympathizer and before long he is abusing Christine and taking her on a crime spree that she didn't want. Before watching this film I had no idea about the true story behind it. Apparently it was very big new in Australia and it managed to produce a best-selling book as well as this movie, which goes under several titles including SAVAGE ATTRACTION. I must admit that the movie really let me down for a number of reasons but the biggest is the fact that you really never learned too much about either of the characters. I'm going to guess that the filmmakers felt most people would be familiar with the tale so they'd just show off the highlights of the couple's life together as well as the various violent ones. The entire film pretty much as Christine playing a victim to Walter who will either beat her, force her into robberies or threaten harm to their child. There's no question that this here is rather ugly story but I didn't think either character was fully developed and as the movie went on I had more questions than anything else. I thought both Mack and Schicha were good in their roles. Again, I thought the characters were as simple as a victim and a bully but both actors did a fine job. The screenplay felt like something you'd see on American television but I think the lackluster direction is what really killed the film. I say this because there's never any tension to anything you're watching and the deadly slow pace just really drags the film out and makes it feel much longer than it actually is.

Never mind the ridiculous cover (at least of my old VHS tape) showing the heroine simpering like baby-doll jailbait on a bed in lingerie--this is an at least somewhat serious attempt to dramatize a purportedly true story, however loosely based it may be. Yet it does occasionally lurch into cheesy sexploitation, just one among many ways it can't seem to maintain any tone or focus at all. Kerry Mack's heroine starts out kinda white-trashy, and one feels for her callous dismissal of carny co-worker Ralph Schicha's earnest marriage proposal. Then suddenly she's the poor victim, pregnant and into marriage against her will--his life in danger, he refuses surgery unless she gets consents--and he's acting like an obsessed stalker in a horror movie. They move to his native Germany, where he reveals himself as a Nazi fanatic and forces her to perform a bank robbery with wig and machine gun like Patty Hearst. That's hardly the end of the extreme globe-trotting melodramatics, either. Mack is made to jump through too many emotional hoops, and the very handsome Schicha can't make sense of a character who's sweet and loyal one minute, then psycho and abusive the next. (On the plus side, the kid who plays their toddler daughter is adorable, and seems very relaxed around her "parents.") The movie just doesn't have the finesse to pull off such a complicated relationship in psychological terms, and stylistically it reels from sober drama to broad, lurid, sometimes choppily edited sequences. Despite its alleged factual basis in the experiences of a woman who endured some years tied to a delusional Nazi husband, the film's progress is too erratic to be credible. It awkwardly lands between drive-in fare and something more respectable. Still, it's too hectic to be dull.

This movie, supposedly based on a true story, tells the tale of Christine Maresch (Kerry Mack, who bears a remarkable resemblance to Michelle Williams,) a runaway from a broken home who, while working at the carnival, meets and falls for Walter (Ralph Schicha), a German ex-pat who is living on the lam in Australia, for reasons which will soon become painfully clear to Christine. Perhaps she should have seen it coming when Walter shot himself upon having his marriage proposal rejected, but for some reason Christine agrees to marry him after all, in the ICU at the hospital, where he is being treated for his aforementioned gunshot wound. They have a daughter, Amanda (Gabriella Barraket) together, but quicker than you can say "Mein Fuhrer," Walter turns into a controlling lunatic, and a neo-Nazi to boot. Christine finds out that she's again pregnant, and informs Walter that she is going to get an abortion. He convinces her not to, tricking her into believing that if she comes back to Germany with him, she will be able to get a top of the line abortion in one of Germany's clinics. Only after they arrive does he tell her that no, they can't get an abortion there, because Walter wants a male heir, presumably to teach how to be a nut case, just like his pops. In Germany, the higher- ups in the neo-Nazi food chain are not impressed with Walter's wife, and make her participate in a bank robbery to prove her loyalty. The robbery goes off well, but the bosses still won't be satisfied with her, so they head back for Oz, where things go from bad to worse, with Christine being held hostage in her own house, the subject of regular beatings and rape. Eventually, Walter makes her participate in another bank robbery, the loot from which he uses to buy a boat, to sail to Germany with. Once on the water, the climactic confrontation occurs, with not much excitement to be found anywhere. A brief postscript reveals that Walter ended up going to jail for 14 years, and Christine got 4 years probation. Even if this story is true (and I have my sneaking suspicions that there were, at the very least, major embellishments on the truth) it doesn't save it from being a total bore. There were only a couple of saving graces to be found; namely the attempted kidnapping scene in Turkey and the frequent display of Ms. Mack's breasts, which all in all really aren't enough to recommend this film very highly to anyone. This movie should stay buried in the jumbo junk heap of history.

Umbrella Entertainment is bringing back Frank Shields' (The Breaker) '80s cult classic 'Hostage'. Not only is this version restored so it can be viewed in glorious 4K, this is also a slightly longer director's cut of the film, based on the incredible, yet terrifying true story of Christine Maresch (Kerry Mack - The Lancaster Miller Affair). Christine, a naive 16-year-old working at a carnival, meets the handsome German immigrant Walter Maresch (Ralph Schicha - Sturm der Liebe) and under weird circumstances feels forced to marry him, before she discovers he's a psychotic neo-Nazi, who'll stop at nothing to manipulate and control every move she makes, for the rest of her life. Now living in West-Germany, Walter gets to be closer to his circle of Nazi sympathizers, and Christine finds herself in a whirlwind filled with domestic violence, drugs and armed robbery. It's now up to Christine to save herself and her child, and safely get back to Australia. Hostage couldn't be more of a B-film. Fans of the genre will appreciate this melodramatic "Ozploitation", which is based on true events - only slightly exaggerated. Lots of action, crazy fast editing and a score by Davood A. Tabrizi that probably went down in '80s Australian film history as one of its finest. The twists and turns get a bit repetitive at some point, especially when it becomes annoyingly clear Christine misses every opportunity she gets to escape her abusive husband. Luckily Kerry Mack knows how to sell the part, even if it may be a bit silly and over-the-top at times. The styling, make up and hair are always on point, even after she wakes up from a drug induced fever dream in which we see her tossing and turning up against the walls of some sort of dollhouse inside her head - Dario Argento would've been proud. Schicha on the other hand, overdoes it as soon as he gets confident in the role of neo-Nazi. He's mostly here to shout, punch or grab Mack, while keeping it all very on the surface. Sensational, suspenseful and overly violent, 'Hostage: The Story of Christine Maresch' ticks all the boxes of exploitation cinema which some cinephiles will definitely enjoy in their collection. Never dull, fast-paced and taking place on multiple continents, the sky is the limit with an explosive finale that'll either make you cringe or clap your hands.

source: Hostage

Hostage is a poorly acted and executed mess. There's almost nothing to like about the film, almost. It does have staying power however and is based on a true story.

While working at an amusement park in Australia, Christine starts a relationship with a German man, Walter. She marries him and has a child with him. When an job opportunity presents itself, Walter and Christine move to Germany. There his deepest, darkest secret is revealed: he's a fervent neo-Nazi. Appalled by this revelation, Christine's life, and that of her child, are now in danger. Based on a true story but you wouldn't think so. Yes, the story is quite extreme but not implausible. No, it's more the way the story is told that makes it less than believable. There's a B-grade quality to proceedings that make it seem cheap and cheesy. Direction is pretty unimaginative and performances are quite hammy. Ralph Schicha as Walter is the worst of it: absurd overacting. Kerry Mack's performance as Christine is actually semi-decent. Supporting cast are so-so. With a bit more edginess, tension and engagement this could have been a fairly decent film. Instead it's quite flat, even dull despite the storyline.

Never mind the ridiculous cover (at least of my old VHS tape) showing the heroine simpering like baby-doll jailbait on a bed in lingerie--this is an at least somewhat serious attempt to dramatize a purportedly true story, however loosely based it may be. Yet it does occasionally lurch into cheesy sexploitation, just one among many ways it can't seem to maintain any tone or focus at all. Kerry Mack's heroine starts out kinda white-trashy, and one feels for her callous dismissal of carny co-worker Ralph Schicha's earnest marriage proposal. Then suddenly she's the poor victim, pregnant and into marriage against her will--his life in danger, he refuses surgery unless she gets consents--and he's acting like an obsessed stalker in a horror movie. They move to his native Germany, where he reveals himself as a Nazi fanatic and forces her to perform a bank robbery with wig and machine gun like Patty Hearst. That's hardly the end of the extreme globe-trotting melodramatics, either. Mack is made to jump through too many emotional hoops, and the very handsome Schicha can't make sense of a character who's sweet and loyal one minute, then psycho and abusive the next. (On the plus side, the kid who plays their toddler daughter is adorable, and seems very relaxed around her "parents.") The movie just doesn't have the finesse to pull off such a complicated relationship in psychological terms, and stylistically it reels from sober drama to broad, lurid, sometimes choppily edited sequences. Despite its alleged factual basis in the experiences of a woman who endured some years tied to a delusional Nazi husband, the film's progress is too erratic to be credible. It awkwardly lands between drive-in fare and something more respectable. Still, it's too hectic to be dull.