Marriage of Maria Braun, The (PAL)
Marriage of Maria Braun, The (PAL)
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Synopsis

In 1978, Rainer Werner Fassbinder began a series of films that would trace the history of postwar Germany through the eyes of three women. Called the BRD (Bundesrepublick Deutschland) Trilogy, these three remarkable films would cement the young director's place in international cinema. The Marriage of Maria Braun (1978, 120 mins.) stars Hanna Schygulla as Maria, who marries Hermann Braunn in the last days of WWII only to have him disappear during the war. She then uses her beauty and ambition to rise in postwar Germany. See also: Veronika Voss (1982, 104 mins.) and Lola (1981, 113 mins.) Rainer W. Fassbinder---Germany---1978---120 mins.

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  • Currently 2/5 Stars.
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   | JohnH#1

Sober examinations of Germany's post World War II "Wirtschaftwunder" years seem dated now. Unless you are as old as I am you don't get the references. Interesting film, with fine performances, but scenes were over composed and the basic premise seemed improbable. Try "Das Maedchen Rosemarie" tor a more comprehensible film about the period.

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  • Currently 5/5 Stars.
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   | bmac#1

Yes, a classic, a masterpiece. I saw this film years ago and remember liking it a lot. I'm so glad I chose to see it again. Unlike Veronika Voss and Lola (and The Bitter Tears of Petra van Kant, etc), Fassbinder movies that are brilliant but cold, hard and not very pleasurable to watch, Maria Braun made me laugh and cry and kept me rapt throughout. Hanna Schygulla is staggeringly good (I also enjoyed the interview with her that came with the disc). And as usual, Fassbinder's control of the medium, his mise- en-scene, is exceptional. This is a great film.

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  • Currently 5/5 Stars.
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   | Bill#10

Subtle lessons in viewing and after viewing. Remarkable quality of the observations/remembrances are things you don't find in contemporary American cinema. In Maria Braun, the images, the narrative and the content seem intricately interwoven and give audiences room to breathe and to contemplate at key junctures. Actors have the experience of life in and recovery from war, and subsequent waging of war in life. Veronika Voss, in contrast, bridges the aesthetic-theatrical sensibility into the 1960's without acknowledging/privileging anyone's reality but the machine's. Lola, a melodramatic romp, has a critique of a emergent old sociology and American-style economic development, with "precision".

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