Heimat: Eine Chronik in elf Teilen

Heimat is one of the best works of art of the twentieth century. Period. That is really all there is to be said. But the format of these comments forces me to write a minimum of ten lines. Well, lets just say that never before in film there has been as successful an amalgam of epic and lyric qualities. The TV-series depict the troubled history of Germany by focusing on a small community and a handful of families. As the show unfolds they become our family. Also: In art the profound and the entertaining seldom go together. In Heimat they do. Be amazed and cry. Still not enough lines. I have nothing more to say. Heimat is the ultimate television masterpiece.

You can only appreciate this series if you like the German tradition of very slowly moving, but brilliant novels, like 'the magic mountain' (der Zauberberg) by Thomas Mann. Don't expect any form of action: it's real life, looked at through the eyes of real people, and there's no heroism, just life and the things it does to all of us. I had the habit of watching at least one or two episodes each week in winter, and I think this is the way to enjoy the series; watching the whole thing in - let's say - one week, would ruin it and make it boring. The way music is integrated in the series, and even becomes a theme in the second series, often triggered something; it's like Marcel Proust's 'a la recherche du temps perdu': the emotions shown, the feeling of time moving on and never coming back and history being written without you being able to change a single thing doesn't make you happy, but gives you a mild feeling of accepting things just the way they are.

I can only echo the preceding comments: See this film. I would add some ifs, however: See this film if you appreciate good direction, consistently solid acting, and discriminating characterizations; if you savour cultural subtleties; if you find 20th-century European history fascinating; if you think the dynamics of community life have much to tell about the human condition; if you've ever wondered what it meant to be German in the 1920s, '30s, & '40s (although the film covers 1919-1982); if you can't quite understand how Nazism could have gained acceptance and then pre-eminence in a northern German village far removed from Berlin and full of the usual diverse personalities; if you want to put a human face on the monolithic histories about war and propaganda; and if your attention span is longer than that required by the average Hollywood production (the film runs to something like 16 hours, in 9 videocassettes).

Heimat is a superb cinematic chronicle of social and political change in human enterprise, a Bildungsroman of a community. You will not forget it.

Absolutely, I agree with my previous commentator in describing this as a riveting,fascinating and certainly beautiful film. It's not necessary to see all the episodes,since the first ones are the best,while the last ones are a-bit tiresome,but for any person who likes German's and their good-natured ways,all episodes are worth seeing.In typical german fashion, values are constantly questioned,even it's murderous Nazi past is confronted in the last episodes, the rich dialogues are particularly interesting. These episodes are recommended for anyone who is about to live or travel in Germany,preferably in original language!!

Recounting the lives of the inhabitants of a German village from 1919 to 1982, Edgar Reitz's epic miniseries Heimat- A Chronicle of Germany is a stunning showcase of film-making at its finest, a fifteen-hour masterpiece, unequaled in European cinema.

The story begins with Paul Simon's return to Schabbach, the village where he was born, at the end of World War I. The conflict has left its marks on him, but no one notices this until it's too late: the first episode ends with Paul leaving Schabbach in 1928, without telling anyone.

We will subsequently learn he has become a successful businessman in America, although this aspect of the plot is covered sparingly, the director being more interested in the Scabbach community, where life revolves around Paul's wife, Maria (Marita Breuer). She is the heart and soul of these eleven episodes, watching her sons grow up, her in-laws get old and the world change radically: over the course of fifty-four years, she will witness war, poverty, family crises and much more, always trying to remain calm and controlled.

Reitz's brilliance lies partly in the story he tells (the history of an entire nation seen through the eyes of common people), but most of all in the means he employs to tell it: on the surface, Heimat looks like an ordinary TV miniseries, but in fact the director delivers a fifteen-hour art-house film, as testified by the techniques used to bring the story to life: what mainstream television product would feature so many black and white/color transitions (dictated by emotional reasons, rather than narrative), ambiguous characters (especially Maria, whose increasingly cold behavior has a devastating effect on her son Hermann, as we will see in Heimat 2), unconventional themes (adultery and sexual initiation were still taboos on the small screen in 1984) and bizarre fantasy sequences (one might even be entitled to think Reitz began the TV revolution given US form by David Lynch's work on Twin Peaks)? And let's not forget the unreliable narrator (every episode is introduced by Glasisch, the village fool), who makes the viewer unable to interpret the Heimat cycle in only one way. I also have to point out that the title is ironic: the people portrayed in these episodes struggle to find a home-country (that's what "heimat" means, although the translation doesn't fully live up to the significance that word has in German), but are destined to fail on one level or another: they can only find a temporary home, which will eventually vanish along with them.

For all the reasons listed above, Heimat deserves to be seen: those wondering if there still is a difference (in terms of quality, if not even success) between big and small screen really ought to give this intense opus a look.