Die Ehe der Maria Braun

First and best of Fassbinder's Post-WWII "Wirtschaftswunder" films. His lead character, a young woman, determined to emerge out of Germany's WWII ruins as a success, literally "walks over corpses" to get what she wants. Marrying a man doomed to be among the last to "fall" for the Fuehrer and the German Reich, Maria is now "Frau" instead of "Fraulein". Initially searching for her MIA husband, she eventually gives it up and moves on. Climbing the ladder, Maria Braun has her share of good times. Showering her impoverished family with lavish presents and lifting everyone's life-style up by a notch, Maria becomes the celebrated "Wunderkind" who gets whatever she wants. Although her uppity attitude isn't always popular, and there is plenty of talk about Maria (and her "ways"), Maria Braun laughs it all away. The Marlene Dietrich-like heroine always has the last laugh, as the shocking ending proves.

This is a Modern Classic, one of the very best films to come out of the 1970s/80s German Cinema. Much stronger than "Veronica Foss" and in the league of "Das Boot", "The Marriage of Maria Braun" is a product of Modern German Dramatic Cinema's golden age. No sugar coating, just pure, unadulterated truth as seen through the rear-view mirror of people who have lived the horrors and survived into new tomorrows. A true gem of a film!

Alright already, get over it, was Handke's comment to the 1968 meeting of the Gruppe 48 -- those writers who wanted to "heal" from the war. Well Fassbinder doesn't want to heal, he wants to indict. And this movie, probably his most accessible, takes a woman as the symbol for the nation-- a theme common to prehistoric oral literature, particularly among the Irish, made famous by Grimmelshausen's Mother Courage and updated by Brecht's play. But in this version, instead of the tragic Mother trying to save her children and mourning them, Maria Braun sells out for comfort from collaboration with the Nazi's through the economic wonder "Wirtschaftswunder" of the cold war. This was Fassbinder's big hit, because he toned down his politics both sexual and marxist, to focus on the loss of soul that Germany experienced. It was also Hanna Schygulla's Oscar worthy performance, probably one of her best of many great ones. Like little Oskar from the Tin Drum, Maria Braun was stunted by the experience, only on the inside.

Having heard of this film for years, I didn't see it until 2003! Perhaps it's just as well that I waited. It is one of the finest films of its type -- post WW2 in Germany -- that I've ever seen; perhaps on balance the finest.

It seems to me that rather than being a cynical portrayal of those difficult years, it is more truthful and revelatory in a deep way. I imagine that no one other than those who lived then can begin to tell the story, which is why Fassbinder has tried on our behalf -- to try to convey to us the angst, the frustrations, the sadness, the insanity, the querulousness, the fragile hope of that era.

I find the story very sad, of course, because in my early-21st century psyche I'm more tuned into the love story than I am the tale of the sociology and social psychology of an era that occurred when I was very young. It seems to me that if one views the characters as representatives of some of the major "world views" obtaining during the reconstruction period, one sees a few of the many different human reactions there can be to such an experience: Many feel burned out and can't feel hope any longer; others, like Maria, feel there is at least money and position to be gained under the new dispensation; some simply don't care; others try to feed off the experience without contributing; and so on and so forth.

It also occurred to me that, at age 60, I may be in a position to appreciate this film more, and certainly to be more understanding of and sympathetic with the characters/types portrayed. I found each of them to have an important story to tell, whether it was a "good" story or not. And the character of the Black US Army Sergeant, while tragic at the end, was itself an essay in human relations that has to embarrass most Americans -- the fleeting moments when he and Maria found joy and pleasant times together were just wonderful to behold, and an indictment of our sad history in that regard.

View it and see what you think!

There is a strong resemblance of 'Maria Braun' to Curtiz' noirish 'Mildred Pierce'. While Mildred rebuilds her life after a personal tragedy, so does Maria, albeit in the backdrop of the post-war German economic disaster. Just as Mildred's loyalty was to her daughter, for Maria it was her husband Hermann (her man?). The two make sacrifices for each other hoping to build a better life for themselves. The major difference is that Maria's husband is a much more sympathetic character than Mildred's daughter, which robs the movie of some tension. Of course since Maria herself is not a very likeable person, one doesn't feel too much for her.

The story in a nutshell is of almost war widow Maria Braun rebuilding her life in post war Germany & rising high on the corporate ladder till she realises that she has given too much of herself for the climb to enjoy the cause she was climbing for.

Standing by itself, I still think this movie will appeal either to European baby boomers or serious students of Fasbinder. The narrative is straight forward & the final TV audio track is a brilliant touch. Hanna Schygulla as Maria gives yet another great performance for Fasbinder.

Sensual and tough Maria Braun. (Hanna Schygula) marries a soldier in the middle of World War II and spends a half of day and the whole night with him. That's how long her marriage lasts before she loses him to the war and then to prison. She carries on with her life, becomes a successful businesswoman being not only sensual but intelligent, ambitious, and willing to use sex whenever or wherever necessary: "I don't know a thing about business, but I do know what German women want. You might even say I'm an expert on it". While climbing up to the success she always remembers her husband, Hermann (her man) and convinces herself that whatever she does – is for him, for their future happy life together. "Maria Braun"'s style reminds much of melodramas by Fassbinder's favorite Hollywood director, Douglas Sirk and offers a glimpse of the loss and survival in postwar Germany. Hanna Schygula literally shines in every scene of the movie and she is fantastic.

8.5/10