Maria, le passeur

Who can help me? This is a very well done German film from the thirties with the then famous Sybille Schmitz. As the previous Reviewers pointed out, the film has its cinematic qualities - well acting - and a sincere dark atmosphere. For a long time, I search for this film. In 2007 the film was brought out from Black Hill/ UFA. Unfortunately I missed to order it in time and suddenly it was no longer available. Has anyone the original DVD? Alternative a Copy would also do fine. If you have - please be so kind and drop me a line :-) I have quite good Collection of old German films of that period - so if you are interested in old German movies, let me know. Send to: chris-100@gmx.de

Update 2014-2-7: Liebe Hildegard Brosseau in Statford: Unfortunately I couldn't answer you per email. I tried twice, first the normal way via "Answering", then I copied out your email address. There must me something wrong with your email address (hilgar657@optimum.net). Immediately after sending my Answer to you I both times received an "Mail delivery failed". Please do write me again, I will answer with Mail (hope it works out then) otherwise I will answer you here :-) Danke.

An elderly ferryman gets called one night to take a passenger dressed all in black. The passenger stares intently at the ferryman, and the elder man faints to his death. Time passes. A woman, skittish of lawmen, arrives in the village. In need of work, she takes over the ferrying duties. One night she saves a wounded man. Soon after, the stranger in black from the beginning visits the village.

Some of the other comments have observed a stylistic connection to Dreyer's Vampyr. This is true to an extent, although Fritz Lang's Destiny, with its protagonist confronting Death, is an equally valid comparison. Ferryman Maria is a more populist work than either of these. This might explain why it has been somewhat forgotten.

For the first half, Ferryman Maria has a slow, rustic feel which makes for less than stirring viewing. The film picks up when Death comes to town. In addition, the film is given a major boost by the setting and the photography. The film looks to have been filmed on location. The cinematography gives the story a timeless quality. This is especially true of the rousing, faith based climax. This helps to make Ferryman Maria a moderately entertaining fantasy.

Haunting folktale about a young woman (Sybille Schmitz) who takes on the job of village ferryman and spars with Death when he boards her scow in search of her lover. Expressionistic set-pieces give the film a fable-like quality and include the girl's dance with Death at a village Oktoberfest and her trek through the murky swamp at night with the Grim Reaper close behind.

The director, Frank Wysbar (later Wisbar) fled the Nazis in 1939 and re- located to America where he carved out a minor career on Poverty Row before returning to Germany in the mid-1950s. He re-told this tale in Hollywood as STRANGLER OF THE SWAMP for PRC in 1946 but the enigmatic Sybille Schmitz saw her career go into decline after the war and her sordid story provided the basis for Rainer Warner Fassbinder's VERONIKA VOSS.

Unique in its visual impact, excellent acting by Sybille Schmitz who became a star with this film. For her "non-arian" looks she was later dropped by Goebbels and committed suicide in the Fifties after her hopes of a new beginning to her career didn't fulfil. Very dark, mysterious and melancholic. A must-see!!!

Frank Wisbar was one of the many talented people working in the German film industry in the late 1920s-early 1930s. He was a producer, often working with Arnold Fanck; he produced MAEDCHEN IN UNIFORM (directed by Leontine Sagan), and assisted on the production of Dreyer's VAMPYR. Obviously, this was a person with an interest in "alternative" cinema; his own work as a director also revealed his interest in non-mainstream cinema.

FAHRMANN MARIA is a fable of the occult. As such, it follows VAMPYR in trying to tell a narrative in terms of atmosphere and metaphor. The moody, shadow-shrouded cinematography is just so marvelously evocative; the settings show the great influence of Expressionist design. Yet this design is used to enhance the performances, particularly those of Sybille Schmitz (also one of the leads in VAMPYR) and Peter Voss.

Wisbar's highly promising career was cut short, as he was one of the many who fled the Nazi regime and wound up in the US; though many of the German emigres would succeed, quite a few wound up toiling in the nether regions of low-budget fare for Poverty Row studios. Wisbar, like Edgar Ulmer, was one of those who never quite made the leap to success in the major studios. Wisbar would remake FAHRMANN MARIA as THE STRANGLER OF THE SWAMP, but, though atmospheric, the mythic dimensions of FAHRMANN MARIA are contracted in the American settings. But FAHRMANN MARIA is one of the true classics of the Weimar cinema.