Maria's Lovers

"Maria's Lovers" is, first of all, a beautiful-looking film. Juan Ruiz Anchía does a fantastic job photographing the film, making wonderful use of light. Scene after scene is brilliantly framed and shot, at times feeling like a series of photographs. Anchía and director Andrei Konchalovsky make a great team. But this is essential to make a film such as this watchable, because the general attitude of virtually every character is endlessly frustrating. Most are motivated by sex, some by fear, some by greed, some by possessiveness, some by misguided innocence.

There are no particular flaws in any of the performances. Kinski, Savage, Mitchum and Carradine create characters of real depth. There are times when "Maria's Lovers" has the overpowering sense of being made in the mold of the great classic tragedies. Which is to say, everyone is more miserable more often than is entirely likely in real life. But I could be wrong, and perhaps there are lives which very closely parallel those shown here. Either way, it is a supremely difficult, painful, intense, and ultimately believable picture. To the right audience, it could very nearly be considered perfect. It's a clean, true, human depiction.

Nastassja Kinski evokes something in the viewer. In Maria's Lovers, she is able to transform from an adolescent sexual lolita to a captivating experienced woman. I viewed the film in a foreign language so I just examined the characters, pacing, lighting, and what I witnessed was an obscure treasure from the 1980's. Nastassja Kinski was in her prime in 1984. She was an eccentric actor to the American audience, ravishing, spell binding, odd. Maria's Lovers is beautiful and lyrical, a film that lingers in the mind, asking questions and relating to moments of lovers. A fascinating study. The directing and cinematography are graceful. I love when we see Maria for the first time. She is so captivating and yet, something else...not sure what...something cool and refreshing. A Film for the Registry.

Saw this film long ago and thought it was beautiful and moving. It was imperative to understanding this film to know that during the time the husband was imprisoned, Maria's picture had become a religious icon for him. SHe had become a saint in his mind, and therefore the problems resulting with him unable to treat Maria as a real woman after his return from the war. It is important to know that Orthodox religions pray through the Saints. Her picture was the only thing he had to keep sane during his prisoner of war years, so it was of immense importance. THe short black and white war scene at the beginning of the film had to be considered very carefully before one could understand the horrors this man had endured. It is important to realise, especially today, that men come back from war changed, although we stay the same.

A World War II soldier (Savage) returns to marry his old lover (Kinski) but his inability to father a child leads to the destruction of their marriage. The couple goes through a series of tribulations before coming together again. Savage gives a so-so performance as the tormented husband who loses the will to commit to the sanctity of the marriage bond. Kinski gives her most versatile and inspired performance ever as the anguished wife. If anything, watch her. The director, Andrei Konchalovsky, is actually Russian. The movie is a pastiche of styles from American and European film-making. Strong powerful storytelling through the chronology of time tinged with the emotional pathos that is typical of most European films. In the end, the mix is a bit jagged and mismatched, but this doesn't stray from an otherwise strong and moving movie.

An excellent period piece set in post WWII small town Pennsylvania. This is an unvarnished look at working class life among the "ethnics" and sexual dysfunction. The production values are fantastic. This movie really captures what it was like then including a passing shot of a large coal burning locomotive. The interiors are drab and worn with peeling paint in some scenes. The directorial style is similar to that of Michael Cimino in The Deer Hunter and Heaven's Gate.

The producers probably wondered why the excellent script and performances didn't garner at least Oscar nominations. It was nominated as Best Foreign Film for the French Cesar award.