O Casamento de Maria Braun

A complex, pessimistic tale of post WWII Germany, this is one of Fassbinder's masterpieces that brings a step beyond the classic melodrama form articulated by Douglas Sirk. When Hanna Schygulla says to her husband in prison `this are bad times for feelings' it is Fassbinder saying that in the seventies cinema there's no place for the classic melodrama of the 40s and 50s, unless all the craze that then was suggested now turns somehow more explicit. Fassbinder has a quality of elevating low elements into the realms of High Art, not only through the services of his personal use of the camera, but also through an admirable compassion towards his material.

A woman uses every means possible to survive hardship in post-war West Germany. In doing so she becomes financially successful but loses her soul in the process.

The Marriage of Maria Braun is a film that operates on two different levels. On the one hand in can be seen as a look at one woman's struggle against adversity in the hardships of the post war years. While on another, the film can clearly be read as a critique of the way the new Germany forgot it's awful past and sold it's soul in order to prosper in what would become known as the German Economic Miracle. This latter reading can be determined by reading the main narrative as an allegory in which Maria Braun represents the new Germany. She begins by prostituting herself to the Americans and ends very wealthy but emotionally dead; she forgets her past quickly in order to concentrate on her future.

There is no doubt that Rainer Werner Fassbinder put together a clever allegorical film here. And there is also no doubt that Hanna Schygula is very good in the lead role. But I did have difficulty with empathising with the people in this story, as none of them were particularly likable. Perhaps that was the point of course. But, whatever the case, the film left me cold unfortunately.

Maria Braun's marriage is a very successful metaphor for post-war Germany, for the economic miracle played by Adenauer, himself heard several times in the film, in his speeches appealing to pride in German economic reconstruction.

In the rubble of the Second World War, Maria/Germany survives, between a tenuous hope of returning to the lost past and the agony of a miserable and dishonorable present.

But the defeated have no right to shame. It is up to them to rebuild the future in the bed of the victors, until they learn to live without them, more than autonomously, as new victorious powers, taking the place of those who humiliated them. In life, in the economy or even in football (Fassbinder coincides the narrative climax with the 1952 World Cup final, in which Germany became champion, for the first time in the history of the competition, thus using yet another metaphor for German reconstruction).

After the victory is complete, the honor is washed away, life ends and it is time to give way to others, to the future, which must not repeat the mistakes of the past.

A bold message and a powerful performance by Hanna Schygullla.

Fassbinder at his best.

Allegory for postwar Germany...examination of modernist female sexuality...Marxist critique of human labor under capitalism...yada, yada. I won't bore you with that prattle. Which isn't to say those idea weren't baked into the movie or that you're wrong to see the movie as deeply philosophical. But it certainly isn't necessary to enjoying the movie.

The Marriage of Maria Braun is a great film without needing to be dissected as some dull academic thesis paper. Maria depicted quite spectacularly by Hanna Schygulla, she plays a character who I can't really decide is tragic or the real "villain." This is one of those weird films where every character is so endearing and well written that it's painful to see things go so off the rails for them.

Ending was a little obvious, and I could argue it was too dumb for the rest of the movie, but overall an amazing production.

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.