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The Marriage of Maria Braun
Theatrical poster
Directed byRainer Werner Fassbinder
Written byPeter Märthesheimer
Pea Fröhlich
Rainer Werner Fassbinder
Produced byMichael Fengler
StarringHanna Schygulla
Klaus Löwitsch
Ivan Desny
Gisela Uhlen
CinematographyMichael Ballhaus
Edited byFranz Walsch
Juliane Lorenz
Music byPeer Raben
Production
companies
Albatros Filmproduktion
Westdeutscher Rundfunk
Trio Film
Distributed byUnited Artists
Release dates
  • 20 February 1979 (1979-02-20) (Berlinale)
  • 23 March 1979 (1979-03-23) (West Germany)
Running time
120 minutes
CountryWest Germany
LanguagesGerman
English
Budget1.975 million DM[1]
Box office$5.6 million[2][3]
$1.1 million (US/Canada)[4]

The Marriage of Maria Braun (German: Die Ehe der Maria Braun) is a 1979 West German drama film directed by Rainer Werner Fassbinder. The film stars Hanna Schygulla as Maria, whose marriage to the soldier Hermann remains unfulfilled due to World War II and his postwar imprisonment. Maria adapts to the realities of postwar Germany and becomes a wealthy industrialist's mistress while staying true to her love for Hermann.

The Marriage of Maria Braun was one of Fassbinder's more successful works and shaped the image of the New German Cinema. It has also been acclaimed by many critics as one of Fassbinder's most profound films.[5] It is the first installment of his BRD Trilogy, followed by Lola (1981) and Veronika Voss (1982).

Plot

During an Allied bombing raid in 1943, Maria Berger and Hermann Braun get married. The next day, Hermann returns to the Eastern front. At the war's end, Maria is told that Hermann died. To support herself and her mother and grandfather, she does sex work in an underground bar that allows only Allied soldiers as patrons. She begins a relationship with an African-American soldier, Bill, who supports her and her family. Although she refuses to marry Bill because of her devotion to Hermann, she has a tender sexual relationship with him that results in pregnancy. On the day she tells Bill of the pregnancy, Hermann returns; he had been a Russian war prisoner. A fight ensues, and Maria kills Bill. At her trial, Hermann testifies that he killed Bill.

Maria's child is stillborn. She tells Hermann she will find work and buy them a house to live in once he is released from prison. She seduces Karl Oswald, a wealthy industrialist, becoming his mistress and his personal secretary. To the surprise of Oswald and his lawyer, Senkenberg, she displays a ruthless instinct for business, closing deals with her sexual wiles and taking hard-line stances against labor movements. Maria keeps Hermann informed of her actions, including the affair, reminding him that she is becoming wealthy and has bought a house for them.

Oswald, who is terminally ill, visits Hermann and offers to make him and Maria heirs to his wealth if Hermann deserts Maria after his release. Neither man tells Maria of their agreement. Upon his release, Hermann emigrates to Canada and sends Maria a red rose each month to remind her he still loves her. Maria blames herself for his disappearance and treats everyone contemptuously, including her mother and Oswald. After Oswald dies in 1954, Hermann returns to Maria. When Oswald's will is read, Maria learns of the agreement Oswald and Hermann made. Maria and Hermann briefly argue about their sacrifices for each other. When she lights a cigarette, she accidentally ignites gas coming from an open burner. As a radio announcer excitedly describes the German football team's victory in the World Cup, Maria and Hermann die in the explosion.

Cast

Production

Writing and pre-production

The idea for The Marriage of Maria Braun can be traced to Fassbinder's collaboration with Alexander Kluge on the unrealized television project The Marriage of our Parents (Die Ehen unserer Eltern), which was developed after the critical success of the omnibus film Germany in Autumn. Fassbinder worked on a draft screenplay with Klaus-Dieter Lang and Kurt Raab and presented it in the summer of 1977 to his longtime collaborator Peter Märthesheimer, who at that time was working as a dramaturge at the Bavaria Film Studios. In August 1977, Märthesheimer and his partner Pea Fröhlich, a professor of psychology and pedagogics, were commissioned to write a screenplay based on the draft.[6] Although it was Märthesheimer's and Fröhlich's first screenplay, their knowledge of Fassbinder's works allowed them to match his characteristic style and structure.[7] Fassbinder changed only a few details in their screenplay, including some dialogue and the ending. Instead of dying by suicide in a car accident, Maria dies in a gas explosion, leaving it unclear whether it was intentional.[8]

The film's producer was Fassbinder's longtime collaborator Michael Fengler and his production company Albatros Filmproduktion.[6] Fengler planned to start shooting the film in the first half of 1978, as Fassbinder's next project Berlin Alexanderplatz was scheduled for June.[9] Fassbinder was embroiled in a controversy over his stage play Der Müll, die Stadt und der Tod and was not ready to start shooting the film, so he withdrew to Paris, where he worked on the screenplay for Berlin Alexanderplatz.[10] Fengler was dreaming of an international star cast for the film. On his suggestion, Fassbinder and Fengler visited Romy Schneider and asked her to play Maria. Due to Schneider's alcohol problems, fickleness, and demands, the role was then given to Hanna Schygulla, her first collaboration with Fassbinder in several years.[11] Yves Montand also showed interest in the film, but wanted to play Hermann and not, as Fassbinder and Fengler suggested, Oswald. As the role of Hermann was already promised to Klaus Löwitsch, Montand was ultimately not offered a role.[9]

Production

Mohrenstraße 1 in Coburg was one of the locations where The Marriage of Maria Braun was shot.

From the start, the financing of The Marriage of Maria Braun was precarious. Albatros Filmproduktion contributed only 42,500 DM, the public broadcaster Westdeutscher Rundfunk 566,000, the German Federal Film Board 400,000, and the distributor 150,000. This forced Fengler to find another financing partner. He offered Hanns Eckelkamp's Trio-Film a share in the film in December 1977.[12] Fengler had promised Fassbinder's Tango-Film 50% of the film profits, but by offering Trio-Film a share in the film, he effectively oversold the rights; only 15% remained with Fassbinder. Fassbinder subsequently called Fengler a gangster and litigation against Fengler continued even after Fassbinder's death.[13]

Shooting began in January 1978 in Coburg. Bad-tempered and quarrelsome, Fassbinder shot the film during the day and worked on the Berlin Alexanderplatz script at night.[14] To sustain this schedule he consumed large quantities of cocaine, supplied by the production manager Harry Baer and the actor Peter Berling. According to Berling this was the main reason the film went over budget, as the cash for the cocaine was coming from Fengler.[13]

In February the budget was reaching 1.7 million DM, and the two most expensive scenes, the explosions at the beginning and at end of the film, had not yet been shot. By this time Fassbinder had learned about Fengler's deal with Eckelkamp and the overselling of the film rights. He felt deceived and broke with Fengler. He demanded the status of co-producer, obtained an injunction against Fengler and Eckelkamp, fired most of the film crew, ended the shooting in Coburg at the end of February, and moved to Berlin, where he shot the last scenes.[12] The biographer Thomas Elsaesser called the production of the film "one of Fassbinder's least happy experiences" and Berlin "one of the decisive self-destructive episodes in Rainer's life".[11]

Distribution and reception

Release

While also preparing for the production of Berlin Alexanderplatz, Fassbinder worked with film editor Juliane Lorenz on the editing and post-production of The Marriage of Maria Braun. The failure of Despair at the 1978 Cannes Film Festival spurred him to prepare an answer print overnight and to present the film on 22 May to German film producers in a private screening. The screening, attended by Horst Wendlandt, Sam Waynberg, Karl Spiehs, Günter Rohrbach, and Filmverlag der Autoren's majority shareholder Rudolf Augstein, among others, was a success.[15] Eckelkamp invested a further 473,000 DM to pay the film production's debts and became the sole owner of the rights to the film.[16] He negotiated a distribution deal with United Artists, outmaneuvering the Filmverlag der Autoren, which usually distributed Fassbinder's films.[17]

Hoping that The Marriage of Maria Braun might be successful at the 1979 Berlin International Film Festival, Eckelkamp started a marketing campaign and decided to release the film theatrically in March. Commissioned by Eckelkamp, the author Gerhard Zwerenz novelized the film. It was published in several weekly installments in the magazine Der Stern over three months beginning in March, increasing public interest in the film.[18] The film's official premiere was on 20 February at the 29th Berlin International Film Festival. The West German theatrical release was on 23 March. At the Berlin festival, Hanna Schygulla won the Silver Bear for Best Actress, which did not satisfy Fassbinder, who expected to win the Golden Bear.[19]

Contemporary reception

German film critics responded very favorably to the film, praising its combination of artistic value with mass appeal. In the weekly newspaper Die Zeit Hans-Christoph Blumenberg called it "the most accessible (and thus most commercial) and mature work of the director".[20] Karena Niehoff wrote in the Süddeutsche Zeitung that The Marriage of Maria Braun "is a charming and even amusing film, at the same time extraordinarily artful, artificial and full of twists and turns".[21]

Many critics praised Schygulla. In the Süddeutsche Zeitung Gottfried Knapp wrote that Fassbinder gave her a magnificent opportunity to display her talent, and that her character, emotions, charm, and energy had an enormous effect.[22] Foreign critics also praised Schygulla. In The New Yorker, David Denby called her "an improbable cross between Dietrich and Harlow".[23] She was the runner-up for the National Society of Film Critics Award for Best Actress that year, losing to Sally Field.

François Truffaut wrote in 1980 in Cahiers du cinéma that with this film Fassbinder "has broken out of the ivory tower of the cinephiles", that the film is "an original work of epic and poetic qualities" influenced by Godard's Contempt, Brecht, Wedekind, and Douglas Sirk, and that its idea of a man who looks on men and women with equal fondness is particularly touching.[21] The French critic Jean de Baroncelli discussed the film's allegorical qualities in Le Monde, writing that it presents Maria with "shining simplicity" as an allegory of Germany, "a character who wears flashy and expensive clothes but has lost her soul".[22]

Roger Ebert added the film to his Great Movies collection.[24]

The New York Times placed the film on its Best 1000 Movies Ever list.[25]

Commercial success and aftermath

The Marriage of Maria Braun was also a commercial success. From its release until October 1979 more than 900,000 tickets were sold in West Germany, and it ran for up to 20 weeks in some theaters.[2][26] In West Germany alone the film grossed more than $3 million.[2][11] In the same year of its German release the distribution deals for 25 countries were negotiated. In August 1981 the film was Fassbinder's first to run in East German theaters.[26] In the United States, the film was the highest-grossing German film ever and grossed $2.6 million.[3]

The film was not the official German submission to the 51st Academy Awards for Best Foreign Language Film. Instead Hans W. Geißendörfer's The Glass Cell was chosen. Almost a year later the film was nominated for a Golden Globe Award for Best Foreign Language Film at the 37th Golden Globe Awards, but this was overshadowed by the success of Volker Schlöndorff's The Tin Drum at the 52nd Academy Awards.[27] The commercial success of The Marriage of Maria Braun strengthened Fassbinder's negotiation position in his subsequent projects. He received a financing agreement for one of his favorite projects, based on Pitigrilli's novel Cocaine, and was able to increase the budget for Berlin Alexanderplatz. Several German commercial film producers expressed interest in making films with him. Luggi Waldleitner produced Fassbinder's Lili Marleen with Schygulla in the main role. Horst Wendlandt produced the two other films in the BRD Trilogy, Lola and Veronika Voss. Fassbinder's success also allowed him to realize his last project, Querelle, which was co-financed by Gaumont.[28]

As Fengler had oversold the rights to the film, Fassbinder's profit share was an open question. Eckelkamp saw himself as the sole owner of all rights, but sent Fassbinder 70,000 DM in 1982 to appease him. After Fassbinder's death, his mother and heiress Liselotte Eder revived his claims, but Eckelkamp was unsympathetic. In the course of legal proceedings Eckelkamp was ordered in 1986 to disclose the film's finances to the newly founded Rainer Werner Fassbinder Foundation. Eckelkamp's Trio Film disclosed a budget of almost 2 million DM, additional marketing costs of 1 million and a net profit of 1 million. When Trio-Film was ordered to pay Fassbinder's heirs 290,000 DM, Eckelkamp refused. At the Rainer Werner Fassbinder Foundation's request, Trio Film had to declare bankruptcy in 1988. In the course of the continuing legal proceedings, the Oberlandesgericht Düsseldorf certified in 1990 that Fassbinder was not a co-producer of the film. The Federal Court of Justice upheld that ruling, but also ruled that Fassbinder's heirs were entitled to a share of the film's profits.[29] Today the Rainer Werner Fassbinder Foundation owns all rights to the film.[30]

References

Notes

  1. ^ Baer, Harry (1990). Schlafen kann ich, wenn ich tot bin (in German). Kiepenheuer & Witsch. p. 281. ISBN 3-462-02055-2.
  2. ^ a b c "Cannes Prize Key B.O. Aid To 'Drum' In German Market". Variety. June 13, 1979. p. 39.
  3. ^ a b "Pix from afar: National bests in the U.S.". Variety. January 7, 1991. p. 86.
  4. ^ Donahue, Suzanne Mary (1987). American film distribution : the changing marketplace. UMI Research Press. p. 298. ISBN 978-0-8357-1776-2. Please note figures are for rentals in US and Canada
  5. ^ "The guide to Rainer Werner Fassbinder's six best films". faroutmagazine.co.uk. 2022-05-31. Retrieved 2023-02-12.
  6. ^ a b Märthesheimer, Peter; Pea Fröhlich (1997). "Eine wunderbare Zeit". In Michael Töteberg (ed.). Die Ehe der Maria Braun: Ein Drehbuch fur Rainer Werner Fassbinder (in German). Belleville Verlag. p. 5. ISBN 3-923646-58-5.
  7. ^ Töteberg, Michael (June 2002). Rainer Werner Fassbinder (in German). Rowohlt Taschenbuch Verlag. pp. 116–117.
  8. ^ Märthesheimer, Peter; Pea Fröhlich (1997). "Schwarzmarkt der Gefühle". In Michael Töteberg (ed.). Die Ehe der Maria Braun: Ein Drehbuch fur Rainer Werner Fassbinder (in German). Belleville Verlag. p. 161. ISBN 3-923646-58-5.
  9. ^ a b Berling, Peter (1972). Die 13 Jahre des Rainer Werner Fassbinder. Seine Filme, seine Freunde, seine Feinde (in German). Bastei Lübbe. p. 332. ISBN 3-7857-0643-X.
  10. ^ Baer, Harry (1990). Schlafen kann ich, wenn ich tot bin (in German). Kiepenheuer & Witsch. p. 156. ISBN 3-462-02055-2.
  11. ^ a b c Elsaesser, Thomas (June 1996). Fassbinder's Germany: History, Identity, Subject. Amsterdam University Press. p. 97. ISBN 90-5356-059-9.
  12. ^ a b Märthesheimer, Peter; Pea Fröhlich (1997). "Schwarzmarkt der Gefühle". In Michael Töteberg (ed.). Die Ehe der Maria Braun: Ein Drehbuch fur Rainer Werner Fassbinder (in German). Belleville Verlag. p. 155. ISBN 3-923646-58-5.
  13. ^ a b Elsaesser, Thomas (June 1996). Fassbinder's Germany: History, Identity, Subject. Amsterdam University Press. p. 98. ISBN 90-5356-059-9.
  14. ^ Berling, Peter (1972). Die 13 Jahre des Rainer Werner Fassbinder. Seine Filme, seine Freunde, seine Feinde (in German). Bastei Lübbe. p. 336. ISBN 3-7857-0643-X.
  15. ^ Berling, Peter (1972). Die 13 Jahre des Rainer Werner Fassbinder. Seine Filme, seine Freunde, seine Feinde (in German). Bastei Lübbe. p. 350. ISBN 3-7857-0643-X.
  16. ^ Märthesheimer, Peter; Pea Fröhlich (1997). "Schwarzmarkt der Gefühle". In Michael Töteberg (ed.). Die Ehe der Maria Braun: Ein Drehbuch fur Rainer Werner Fassbinder (in German). Belleville Verlag. p. 166. ISBN 3-923646-58-5.
  17. ^ Elsaesser, Thomas (June 1996). Fassbinder's Germany: History, Identity, Subject. Amsterdam University Press. p. 20. ISBN 90-5356-059-9.
  18. ^ Märthesheimer, Peter; Pea Fröhlich (1997). "Schwarzmarkt der Gefühle". In Michael Töteberg (ed.). Die Ehe der Maria Braun: Ein Drehbuch fur Rainer Werner Fassbinder (in German). Belleville Verlag. pp. 163–165. ISBN 3-923646-58-5.
  19. ^ Elsaesser, Thomas (June 1996). Fassbinder's Germany: History, Identity, Subject. Amsterdam University Press. pp. 98–99. ISBN 90-5356-059-9.
  20. ^ Blumenberg, Hans C. (1979-03-02). "Der Mann, der die Toten liebte" (in German). Die Zeit. Archived from the original on 7 June 2011. Retrieved 28 April 2010., "dem zugänglichsten (und damit auch kommerziellsten) und reifsten Werk des Regisseur"
  21. ^ a b Fischer, Robert; Joe Hembus (March 1985). Der neue deutsche Film 1960–1980 (in German). Wilhelm Goldmann Verlag. p. 163. ISBN 3-442-10211-1., "ein richtig charmanter und sogar witziger Kinofilm und zugleich ungemein kunstvoll, künstlich und mit Falltüren noch und noch"
  22. ^ a b Limmer, Wolfgang; Rolf Rietzler (September 1986). Rainer Werner Fassbinder, Filmemacher (in German). Rowohl Taschenbuch Verlag. p. 209. ISBN 3-499-33008-3.
  23. ^ Märthesheimer, Peter; Pea Fröhlich (1997). "Schwarzmarkt der Gefühle". In Michael Töteberg (ed.). Die Ehe der Maria Braun: Ein Drehbuch fur Rainer Werner Fassbinder (in German). Belleville Verlag. p. 169. ISBN 3-923646-58-5.
  24. ^ Ebert, Roger (April 24, 2005). "The mind of the married woman". RogerEbert.com. Retrieved 9 August 2024.
  25. ^ The Best 1,000 Movies Ever Made. The New York Times via Internet Archive. Published April 29, 2003. Retrieved June 12, 2008.
  26. ^ a b Märthesheimer, Peter; Pea Fröhlich (1997). "Schwarzmarkt der Gefühle". In Michael Töteberg (ed.). Die Ehe der Maria Braun: Ein Drehbuch fur Rainer Werner Fassbinder (in German). Belleville Verlag. p. 168. ISBN 3-923646-58-5.
  27. ^ Haase, Christine (November 2007). When Heimat meets Hollywood: German filmmakers and America, 1985–2005. Studies in German Literature Linguistics and Culture. Camden House. p. 75. ISBN 978-1-57113-279-6.
  28. ^ Elsaesser, Thomas (June 1996). Fassbinder's Germany: History, Identity, Subject. Amsterdam University Press. p. 99–100. ISBN 90-5356-059-9.
  29. ^ Märthesheimer, Peter; Pea Fröhlich (1997). "Schwarzmarkt der Gefühle". In Michael Töteberg (ed.). Die Ehe der Maria Braun: Ein Drehbuch fur Rainer Werner Fassbinder (in German). Belleville Verlag. p. 174. ISBN 3-923646-58-5.
  30. ^ "Rainer Werner Fassbinder Foundation" (in German). Rainer Werner Fassbinder Foundation. October 2008. Archived from the original on 17 January 2010. Retrieved 28 April 2010.

Bibliography

  • Märthesheimer, Peter; Pea Fröhlich (1997). Michael Töteberg (ed.). Die Ehe der Maria Braun: Ein Drehbuch fur Rainer Werner Fassbinder (in German). Belleville Verlag. ISBN 3-923646-58-5. (screenplay)
  • Zwerenz, Gerhard (January 1979). Die Ehe der Maria Braun (in German). Goldmann Verlag. ISBN 3-442-03841-3. (novel based on the film)
  • Joyce Rheuban, ed. (January 1986). The Marriage of Maria Braun: Rainer Werner Fassbinder, director. Rutgers Films in Print. Rutgers University Press. ISBN 0-8135-1130-5.

Further reading

  • Anton Kaes. From Hitler to Heimat: The Return of History as Film. Cambridge, Massachusetts: Harvard University Press, 1989.
source: https://en.wikipedia.org/wiki/The_Marriage_of_Maria_Braun

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