A review of the marriage of maria braun a film by rainer werner fassbinder
The marriage of maria braun summary
Running time: minutes. The suggestion is that the war years and the postwar years wounded the German psyche so profoundly that the survivors wanted what they wanted, now, on their terms. The performances match the complex symbolic nature of the script and Fassbinder's confident direction. The furious Hermann, followed by Maria, runs after the registrar, and together they tackle him. But he avoided easy empathy by having Schygulla play her with such a lack of emotion that we are forced to examine her circumstances to gain an understanding of her actions. I remember Fassbinder late at night at a back-street bar at Cannes that year, always in his black leather jacket, surrounded by his crowd, often scowling or arguing as they tried to please him. Working as a mistress in an illegal bar for allied occupying forces, she is at first no different from her mother, who seizes the rare packs of cigarettes that come her way, trading them for her most precious jewellery.
He gave us what he saw as the rise and second fall of West Germany in the three postwar decades --considered in the context of the overwhelming American influence on his country. By now, however, they are complete strangers to one another.
Thus, we see the often overlooked impact of the war on ordinary civilians, the false promises made by their American liberators and the struggle to recover a sense of self-worth during the so-called economic miracle.
The cinematographer Ballhaus worked with Fassbinder on a dozen films in nine years, then "burned out," resigned, and started working for Martin Scorsesewho by comparison "was like a dream. Yet all the time, she is an ideal employee, quickly rising from "personal assistant" to the company's key decision-maker.
Maria hits Bill over the head with a bottle, and in less time than it takes to write these words, Hermann has been packed off to prison and Maria has set off to make a fortune, which the two of them will share when he is released.
Instead of Maria Braun committing suicide in a car accident she dies in a gas explosion, leaving it unclear whether she committed suicide or died accidentally.
An opening scene in which she literally plasters on make up before entertaining the American GIs, casually noting that it makes her look like a doll, is itself a statement of Maria's unreadable nature.
Norbert SchererWarden Two.
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When it starts as it ends, aka with a bang, so does a clear-eyed look at life after wartime. He confesses he was frightened to come; she has him so off-balance he has no idea how to please her. It's a surprise, but you must admit it is as plausible an ending as any other. Fassbinder has some rather bitter fun with what happens in the aftermath of the soldier's death the lovestruck, or perhaps just shellshocked, husband voluntarily goes to prison, and Maria rises quickly in a multinational corporation. Only Rainer Werner Fassbinder, the prodigiously talented young West German director "In a Year of 13 Moons," "Effi Briest" and so on would dare begin a movie about total dissolution with with a sequence dramatizing the end of the known world. The small room shudders and shakes, but the ceremony continues. Schygulla is mesmerising as Maria - as utterly believable as she is impenetrable. But since Fassbinder always wanted to make 'German Hollywood films' and invariably insisted that his greatest desire was popular success, The Marriage Of Maria Braun, made in , is a particular triumph. Maria remains fiercely loyal to this absent spouse, who is essentially a stranger, for all the rest of the film; perhaps it is her form of loyalty to Germany in its defeat. She wants to be faithful to her husband, not because she is a good little woman but because she believes in the relationship she has fostered for so long.
Martin HausslerWarden One. Where can one go from there? His success also allowed him to realize his last project, Querelle which was co-financed by Gaumont.
Rainer Werner FassbinderVevi. Certainly without any background reading this could easily come across as just another rise and fall melodrama Indeed, Fassbinder venerated such Hollywood directors in the s as Douglas Sirkand a rather pretentious one at that.
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The soldier's accidental death, and her husband's return, are weathered by Maria with rather disturbing aplomb, but then we begin to see that Maria's ability to feel has been atrophied by the war, and her ability to be surprised has withered away. All the time she is keeping score: nylons and cigarettes at first, then a good job, fashionable clothes, a house in the suburbs, expensive restaurants. Maria, at first, refuses to believe it. The West German theatrical release was on 23 March One reason, I suspect, is that there isn't a single, easily defined villain in the entire film. Commissioned by Eckelkamp, the author Gerhard Zwerenz novelized the film. Oozing charm and inhabited by time Fassbinder veteran Schygulla as if she was re-enacting a past life rather than merely playing a fictional part, the movie finds its soul and purpose not only in its titular character, but in the performance that goes with it. With the masterful epic "The Marriage of Maria Braun," he made his clearest and most cynical statement of the theme, and at the same time gave us a movie dripping with period detail, with the costumes and decor he was famous for, with the elegant decadence his characters will sell their souls for in a lates economy without chic retail goods. Martin HausslerWarden One.
based on 20 review