Martha

I was so amazed by this genius, the way that Fassbinder holds his camera as if it was his own child. I've rarely seen somebody mastering the art of camera as much as Fassbinder does. He's all over it, he sees beyond the human eye. The shot where Martha meets Helmuth for the first time in Roma is amazing... my heart stopped for about 3 seconds... I couldn't believe what I just saw...I saw this shot many times but I was afraid that I might loose interest in it if I kept playing it again and again. But I didn't. As for the story, it is very beautiful indeed, strange and disturbing. It's one of the best filmed movie ever done in my opinion. Don't miss it.

No one can deny the poise,finesse and grace with which Fassbinder has directed some of the most charming women characters. This quality is currently being imbibed by some of the most talented filmmakers like Todd Haynes in USA and François Ozon in France. In this particular melodramatic film,Fassbinder is at his best and there is strong belief in the minds of true cinema admirers that "Martha" would surely rank as one of his best films.Initially the setting in Italy helps the film to build its momentum but it reaches feverish pitch once the events start to unfold in Germany. The two main actors are captivating. Karl Heinz Boehm has given a chilling performance as a bizarre husband. Looking at him no one can make out whether he truly loves his wife or troubling his wife sadistically remains his past time. Margit Cartensen is great too as the wife suffering humiliation at the hands of a man she thought loved him. To my mind, Martha would be of higher interest to all those who are keen on learning more about the depiction of women in new German cinema.

Yes, hysterical as in exaggerated comedy, and hysterical as in the title character freaking out over her bizarre, ever-degenerating marriage. This is great Fassbinder film-making--the performances, cinematography, and dialogue are brilliant. As in many of his films, Fassbinder takes a perverse joy in keeping the audience balanced between comedy and melodrama, the laughs always tinged with apprehension. The colors are dominated by lurid reds. The arc of the story keeps one queasy as to how horrible the outcome might be.

The famous Sirk influence is very obvious in this as in many of RF's early 70's films, but what struck me is the equally obvious influence of Bunuel on Fassbinder's movies. "Martha" owes a great deal to "Belle du Jour" and "Tristana" among many other of the Spanish master's films about the natural perversity of male-female relationships.

Martha, the titular character of Rainer Fassbinder's 1974 made for TV (but nonetheless acclaimed) film Martha is the kind of character I detest more than any other. If there is one characteristic that defines her it is weakness. Her weakness can be seen from the very beginning, as an early scene shows her as she runs away from an emergency situation. Later, shortly after the death of her father, she begins to try things that her father had forbid her to do; thus it becomes clear that her will has been subsumed by that of her parent. Nonetheless, Martha leads a fairly happy life until she marries a domineering sadist. A good portion of the film portrays her sickening subservience to this petty tyrant and the pitiful efforts she makes to change her situation inevitably worsen it because they are so passive and ineffectual. The plot of this film makes for a maddeningly unpleasant viewing experience.

At the same time, Fassbinder's film-making powers are never less than formidable, particularly in some of the earlier sequences here. Fassbinder sets the early, happy scenes in vast, richly decorated interiors. There are a lot of interesting juxtapositions created through the use of mirror images and unusual angles. Exterior scenes are also visually sumptuous, a bit like the work of French New Wave director Eric Rohmer, Academy ratio and all. Later, as the film turns more miserable the interiors seem to shrink and their uniform lack of design reflect Martha's new hopelessness. The exteriors seem to grow into vast wildernesses at the cost of their former beauty. Needless to say, Fassbinder is adept at using a character's surrounding (and the mise en scene) to suggest that character's mood.

This is the third Fassbinder film I've seen and I must say that while I haven't been blown away by any of his films, his direction remains a strong point in each one. No doubt I'll eventually see one where the other aspects of the film are just as satisfying as the direction. Martha is not that film but it does increase my appreciation for Fassbinder's artistry.

A great movie, made in a special way. Not only was it made for TV, it has the style of a soap-opera. Those who have seen it must have noticed that there are a number of "episodes", separated by a gradual darkening of the screen (till completely black, then lightening up again). The acting, the decor and so on are pure soap-opera. Some reviewers have seen a touch or two of Douglas Sirk, but there's more than that to it: when Martha gives her German address in the embassy, the name of the street is "Douglas Sirk"! Pure melodrama, but with great results. Fassbinder gives the movie the necessary pace to portray a convincing tragedy resulting from fatality mixed with individual characteristics. The final words appropriately are "When God takes a step, man cannot change it".