The marriage of Maria Braun

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Movie
Original title The marriage of Maria Braun
Country of production Germany
original language German
Publishing year 1979
length 115 minutes
Age rating FSK 12
Rod
Director Rainer Werner Fassbinder
script Peter Märthesheimer ,
Pea Fröhlich
production Albatros / WDR
music Peer ravens
camera Michael Ballhaus
cut Rainer Werner Fassbinder (as Franz Walsch),
Juliane Lorenz
occupation
chronology

Successor  →
The longing of Veronika Voss

The Marriage of Maria Braun is a feature film by Rainer Werner Fassbinder from 1979 . Hanna Schygulla plays the main character of Maria, whose marriage to Hermann remains unfulfilled due to his military service in World War II and subsequent imprisonment . Maria comes to terms with the post-war situation, becomes the lover of an industrialist and gains wealth, but always holds on to her love for Hermann. Ultimately, this love is disappointed.

Fassbinder uses this melodramatic story to cast a distanced, pessimistic look at the immediate post-war period in West Germany . Maria Braun is often seen as the embodiment of the economic miracle , which brought prosperity only at the price of suppressing feelings. The film was one of Fassbinder's most internationally successful works and helped shape the image of New German Cinema abroad; at the same time he consolidated Schygulla's reputation as the ideal Fassbinder actress. The marriage of Maria Braun is the prelude to Fassbinder's so-called FRG trilogy , which was continued in the films Lola (1981) and The Sehnsucht der Veronika Voss (1982) - they are also inventories of the post-war period in Germany from a specifically female point of view.

action

1943: During an air raid , Maria marries the soldier Hermann Braun; the registry office is destroyed by an aerial bomb explosion. Hermann has to go back to the front immediately , and Maria is on her own. After the war ended, she took her fate into her own hands. The news that Hermann had fallen causes Maria, who lives with her mother and grandfather, to work as a barmaid for the family. She begins a relationship with Bill, an African American GI , who takes care of her and supplies her with coveted items like nylon stockings and cigarettes.

However, Maria's husband is still alive and surprisingly returns from captivity . When he Maria and Bill in flagrante encounters and there is a scuffle between him and the Americans, Maria kills in affect Bill with a bottle. Hermann takes the blame for the crime and goes to prison for it. Maria visits her husband regularly in custody and takes the opportunity to work in the office of industrialist Karl Oswald. The terminally ill Oswald takes a liking to the enterprising young woman and offers her a job as his assistant if she starts an affair with him. Maria agrees, but not without informing her husband. The young woman works for economic well-being, but she always holds on to the love for her husband. When Hermann was released from prison, however, he did not return to his wife, but went to Canada on an excuse .

When Oswald died, Hermann returned to Germany. He has apparently become prosperous overseas and visits Maria, who now lives alone in her own house. Oswald's will is opened, and Maria learns that the industrialist and Hermann had secretly made a bargain while Hermann was in prison: Hermann should not return to his wife during Oswald's lifetime, in order not to end the relationship between Oswald and Maria. As a reward, Hermann and Maria were appointed as Oswald's sole heirs. Maria, who - knowingly or unknowingly - had not turned off the gas supply to the kitchen stove , lights a cigarette, causing an explosion that destroys the house. Maria and Hermann die while the 1954 World Cup final is being broadcast on the radio .

Origin and publication history

Script and preproduction

The idea for The Marriage of Maria Braun comes from the context of the television project The Marriage of Our Parents conceived by Fassbinder together with Alexander Kluge . Fassbinder presented his first exposé , on which Klaus-Dieter Lang and Kurt Raab had also worked, in the early summer of 1977 to his long-time collaborator Peter Märthesheimer , who at the time was working as a dramaturge at Bavaria . In August 1977, Märthesheimer was commissioned to create a script with his girlfriend Pea Fröhlich , a professor of psychology and education . Although it was Märthesheimer's and Fröhlich's first script work, her experience with Fassbinder's work enabled them to adapt the book to the director's language and structure. Fassbinder's changes to the script were limited to a few dialogues as well as to the ending, which the director described: The suicide of Maria through a voluntary car accident, described by Märthesheimer and Fröhlich, was transformed into a gas explosion, a more ambivalent, less clear ending. The film was produced by Fassbinder's long-time companion Michael Fengler with his production company Albatros Film .

Fengler planned the production of The Marriage of Maria Braun for the first half of 1978, as the shooting for Fassbinder's major project Berlin Alexanderplatz should not start until June 1978. However, Fassbinder did not have a clear head for the film; In the Federal Republic of Germany the debate about his controversial play The Garbage, the City and Death was in full swing and the director had retired to Paris to work on the extensive screenplay for Berlin Alexanderplatz . At Fengler's insistence, the two sought out Romy Schneider to propose her the lead role, but the actress, in a serious life crisis and overly appealing to alcohol, made excessive fee demands and acted fickle. Yves Montand showed interest in the film, but wanted Maria's husband Hermann and not, as suggested by Fassbinder and Fengler, to play the role of the industrialist Oswald. However, this role was already promised to Klaus Löwitsch , and so Fengler's dream of an international star ensemble was shattered; Hanna Schygulla got the role of Maria and worked with Fassbinder for the first time in four years.

production

Parts of the filming of Maria Braun's marriage took place in this building on Coburger Mohrenstrasse .

Maria Braun's marriage was an underfunded film from the start. The Albatros itself contributed only 42,500 DM , the WDR contributed 566,000 DM, 400,000 DM came from the Filmförderungsanstalt , and the distributor gave a guarantee of 150,000 DM. Fengler was forced to take another partner on board. Without Fassbinder's knowledge, to whom Fengler had promised a 50% profit share in the film, the producer involved Hanns Eckelkamp's Trio Film in The Marriage of Maria Braun in December 1977 and had to grant Eckelkamp 85% of the film rights for its financial contribution.

Filming began in January 1978 in Coburg . In a bad mood and contentiously, the director tackled the film work, shooting during the day and writing the script at Alexanderplatz at night . In order to keep up this work rhythm, Fassbinder consumed large amounts of cocaine , for which he demanded daily cash payments.

In February 1978 the budget had already reached 1.7 million DM without the two most expensive scenes, the explosions at the beginning and the end of the film, having been shot. Fassbinder found out about Fengler's business with Eckelkamp, ​​felt deceived and betrayed and broke with his long-time companion. Fassbinder vehemently demanded the status of co-producer for himself in order to be able to participate financially in the film and obtained an injunction against Fengler and Eckelkamp. The director dismissed a large part of the staff, stopped shooting in Coburg at the end of February and moved to Berlin to complete the film , where the last scenes were finally shot in March 1978. Overall, the biographer Thomas Elsaesser assesses the shooting as "one of Fassbinder's most unfortunate experiences"; At the same time, The Marriage of Maria Braun was Fassbinder's last collaboration with the lighting cameraman Michael Ballhaus , who turned to other projects with disappointment.

publication

Fassbinder worked hastily with Juliane Lorenz in parallel to the preparations for Berlin Alexanderplatz on the editing of The Marriage of Maria Braun and on the further post-production . When Fassbinder's Despair - Eine Reise ins Licht (A Journey into Light) started in May 1978 at the Cannes Film Festival and was not very successful, the director had a null copy of The Marriage of Maria Braun made overnight and presented the film in an internal preview on May 22, 1978 leading German film producer. In the presence of Horst Wendlandt , Sam Waynberg , Karl Spiehs , Günter Rohrbach and the leading shareholder in the film publishing house of the authors Rudolf Augstein , this performance was a great success. Eckelkamp immediately invested another DM 473,000 to pay off the production debts, so that his Trio Film became the sole rights holder to the film. Equipped with all the necessary powers, Eckelkamp negotiated a distribution contract for the film with United Artists and thus booted out the authors' film publishing house.

When it turned out that Maria Braun's marriage had a chance to take part in the 1979 Berlinale , distribution was set for March 1979, and Eckelkamp launched a marketing campaign for the film. Gerhard Zwerenz wrote an adaptation of the novel of Die Ehe der Maria Braun on Eckelkamp's order , which was published as a sequel in Stern for three months from March and brought the film to the public eye. The official premiere of The Marriage of Maria Braun finally took place on February 20, 1979 on the occasion of the Berlinale, the film was released on March 23, 1979. The film was awarded the Silver Bear in Berlin for Hanna Schygulla as best actress , which Fassbinder did not satisfied, because he had expected the Golden Bear for the film. TV viewers were able to see the film for the first time on August 10, 1984 on East German television; the West German first broadcast was on January 13, 1985 at 9 p.m. on ARD.

Contemporary criticism

The German-language film reviews reacted very positively to The Marriage of Maria Braun and praised its artistic expression in connection with its audience suitability. Hans C. Blumenberg put in time out that we have to deal with "the most accessible (and therefore most commercial) and most mature work of the director." Karena Niehoff wrote in the Süddeutsche Zeitung , The marriage of Maria Braun is "a really charming and even funny movie and at the same time extremely artistic, artificial and with trapdoors still and still."

Hanna Schygulla in particular received great praise for her performance; Gottfried Knapp attested in the Süddeutsche Zeitung of March 23, 1979 that the director gave her “wonderful opportunities to play” and that the character had an “enormous effect” with her ideal feelings, her charm and her energy. Schygulla was also enthusiastically received in the foreign press that she was “an almost impossible cross between Dietrich and Harlow ”, confirmed David Denby in New York Magazine .

François Truffaut stated in 1980 in the Cahiers du cinéma that Fassbinder had "broken out of the ivory tower of the cinephiles" with this film, that the marriage of Maria Braun was "an original work of epic-poetic quality" and showed the influence of Godard's The Contempt from Brecht and Wedekind to Douglas Sirk . Especially touch his human view, which men and women look at lovingly in the same way. On January 19, 1980 in Le Monde, Jean de Baroncelli focused on the allegorical qualities of film: the film presented Maria Braun with a “shining simplicity” as an allegory for Germany that, like the country, she was “a being with striking, expensive clothes is done, but that has lost its soul ”.

Success and aftermath

The marriage of Maria Braun was a great success at the box office: In the Federal Republic of Germany, 400,000 cinema-goers saw the film by October 1979, some of which remained in the theater's program for up to 20 weeks. The film grossed more than four million DM on the domestic market alone. In 1979, rental contracts for Maria Braun's marriage were concluded for 25 countries ; In August 1981 the film started as the only Fassbinder work to date in the GDR cinemas. In the United States , he had already grossed 1.8 million US dollars six weeks after the rental began.

For the Oscar ceremony in 1979 was The Marriage of Maria Braun not considered; Instead, Hans W. Geißendörfer's Die Gläsernezelle was sent into the race for the best foreign-language film . Fassbinder's film, however , was nominated for the Golden Globe Awards in 1980 almost a year later , but this year it was overshadowed by Volker Schlöndorff's Oscar success The Tin Drum . Fassbinder had a very good negotiating position for his follow-up projects thanks to the commercial success of Die Ehe der Maria Braun . He received funding for his project to film Pitigrilli's novel Kokain . He was also able to fight for a higher budget for Berlin Alexanderplatz . The major entertainment film producers in the Federal Republic sought to work with the director for the first time. Thus produced Luggi Leitner Forest in 1980 Lili Marleen , after Hanna Schygulla, Fassbinder had insisted on as a director for a joint film project, and Horst Wendlandt realized together with Fassbinder Lola and Veronika Voss .

The question of how far Fassbinder was to participate in the film's financial success remained open. Eckelkamp saw himself as the sole rights holder, but in 1982 sent a check for 70,000 DM to Fassbinder to appease the director and his claims to participation. When, after Fassbinder's death, his mother and heiress Liselotte Eder renewed the claims on Eckelkamp, ​​the film producer rejected them. In the course of a legal dispute in 1986, Eckelkamp was instructed to provide the newly established Rainer Werner Fassbinder Foundation with information about the film's financial success. It showed budget costs of 2 million DM and further marketing costs of one million DM, so the film had generated a surplus of one million DM. When Eckelkamp's trio film was sentenced to pay 290,000 DM to Fassbinder's heir organization, the producer refused; his trio film went bankrupt in 1988 at the request of the Foundation . In the further course of the dispute, the Düsseldorf Higher Regional Court certified in 1990 that Fassbinder was not a co-producer of the film. This judgment was later confirmed by the Federal Court of Justice , but the financial claims of Fassbinder's heirs were justified. The film rights are now completely in the hands of the Foundation.

Staging

dramaturgy

Thomas Elsaesser states that Maria Braun's marriage is “the most classically constructed” of all Fassbinder films; Wilhelm Roth states that the work is "told more purposefully and with less frills than all the films since Martha ". A linear structure that clearly shows the chronology between 1943 and July 1954 is used to develop the story of a heroine who is at the center of the drama and who experiences a classic narrative of rise and fall. The film is “linear, transparent and realistic” and thus has “the simple power of morality ”, says Elsaesser. Maria becomes the clear identification figure for the audience, but it is only at the end that Fassbinder finally explains that her life and love are based only on an illusion.

As is typical for Fassbinder, despite all intended identification with the main character, an ironic distance is applied in the staging, taking up the Brechtian idea of ​​the alienation effect . The director destroys the melodramatic core of the narrative, for example, "with irritating camera movements that build up expectations and then disappoint," says Fassbinder biographer Michael Töteberg . The characters remain fictional characters, also characterized in this film by, as Guntram Vogt notes, “the speech melody with its unconventional emphasis to express contradicting emotions”, thus “acting against the grain of expectations”.

Within the linearity of the film, Fassbinder works with repetitions and symmetries, visible for example in the explosions at the beginning and at the end of the film or in the framing of the film with portraits of politicians: a picture of Hitler that falls from the wall during the bombing that opened the film follows on The film ends with the negative shots of Federal Chancellors Adenauer , Erhard , Kiesinger and Schmidt , whose image finally turns into a positive. The recurring motif of the cigarette functions as a leitmotif in the film. According to Sang-Joon Bae, cigarettes serve "as a symbol of (longing) addiction in the 'bad time for feelings'", are an image for Maria's clinging to the emotional and also play a role in the final catastrophe.

Visual style

According to Herbert Spaich, by means of an "inconspicuous [e] and well-organized [e]" image design, Fassbinder avoids a strong visual stylization on the one hand, but also an overly realism on the other. Interior shots predominate, the limited space of which, often blocked by objects , is shown at maximum in the medium long shot . Dark and penumbra areas create an atmosphere of confinement: “Semi-dark rooms enclose people […]”, notes Vogt. There is no clear visual distinction between the locations: "The atmospheric dividing line between prison and city apartments is [...] blurred, almost not recognizable", everywhere there is "the same cold blue shimmer".

A continuous visual motif is the grid symbolism, whose isolating, separating effect "illustrates the gap between private feelings and the public zeitgeist [...]", as Sang-Joon Bae notes. Stylizations of this kind also take place in other scenic designs, but are only used sparingly. For example, towards the end of the film, you see Maria smoking between a white telephone and her husband's bouquet of roses; she stands, according to Sang-Joon Bae, "between career awareness and the love symbol, whereby she [...] holds a cigarette, the longing-addiction symbol, in her hand".

Sound and music

The film achieves a large part of its distancing, ironic breaking effect through the use of sound. In part contrapuntal , the plot is supplemented by radio reports, hits from the times and background noises, at the beginning bomb explosions and machine gun fire, at the end the jackhammers of the reconstruction. Up to four sound levels ( non-diegetic music, dialogue, noises and the radio sound) lie on top of each other and sometimes make it difficult to follow the conversations.

Peer Raven's film music, which serves to distance and objectify, especially in emotional scenes , is also less used for anchoring in time than rather with a comment function; he manages to “create music passages in such a way that a subjective emotional perspective is contrasted with an objective musical commentary “Notes Elsaesser. For example, in a scene in which Maria thinks longingly back to her husband, the melody of the Westerwald song, reminiscent of marching music , played on a xylophone .

Similar to the film music, hits like Caterina Valentes Ganz Paris dreams of love and Rudi Schuricke's Capri-Fischer are used, not as an emotional, nostalgic product of the time, but from the ironic distance of the 1970s and with the knowledge that they are in the hits transported ideal world dreams have failed. This use of sound and music, which, according to Sang-Joon Bae, is "tonal stylization of historiography", which weakens the film's degree of realism, serves to synchronize private and public history and to distance itself critically from current events.

Themes and motifs

intertextuality

Fassbinder confirms that in The Marriage of Maria Braun he created other levels of meaning in addition to the simple love story: "With Maria Braun, the audience has the opportunity to start with a very simple story, but at the same time I allow more complex things to flow in." the film can be read as a classic melodrama , as a disaffected-pessimistic look back at the post-war period or the figure of Maria even as an allegory of the young Federal Republic.

The director achieves this ambiguity for the film by building on the audience's various reception habits and making use of their image memory and their experiences with style and genre conventions . Elsaesser lists as texts cited visually or motivically in The Marriage of Maria Braun : Works of film noir such as Solange ein Herz Beats ( Mildred Pierce , Michael Curtiz , 1945) and In the Net of Passions ( The Postman Always Rings Twice , Tay Garnett , 1946 ), Detlef Sierck's Zarah - Leander - films , the Schnulzen and Heimat films of the post-war period, rubble films such as Between Yesterday and Tomorrow ( Harald Braun , 1947), the scandalous films of the Adenauer era such as Das Mädchen Rosemarie ( Rolf Thiele , 1958), but also drama returning from the war like Borchert's Outside Front of the Door and Ernst Toller's Hinkemann as well as documentary material like newsreels .

Fassbinder builds on all of these visual experiences and interweaves the sometimes contradicting sub-texts of the source material, varying the model texts through distancing and irony: "Fassbinder adopts all clichés, but alienates them through accumulation, exaggeration and accentuation", comments Anton Kaes. Elsaesser therefore sees Maria Braun's marriage as “a decidedly intertextual film”, even a “ postmodern film”.

Melodrama

Ostensibly's The Marriage of Maria Braun , a melodrama in the tradition of Douglas Sirk American Dramas such as time to live and a Time to Die ( A Time to Love and a Time to Die , 1958), one in the plant tragic story of a woman who stands between two men and whose true love ultimately remains unfulfilled due to fateful circumstances: Anton Kaes notes that, as is so often the case with Fassbinder, the film deals “with the unfulfilled and unfulfillable longings of private individuals, with the exploitation and exploitation of their feelings and their failure as such itself and in society ”.

Characteristic is Maria's saying in the film "It's a bad time for feelings"; the practical success of their everyday life forces them to constantly postpone their emotions. Elsaesser sees it as "the self-discipline of a merciless double existence of body and soul". Maria cheats for her love, even kills for her love and is ultimately bitterly disappointed when she realizes that she was only the object of a trade, a victim of the circumstances of the time: "Treason [...] is the basis of the Wirtschaftswunder business . Feelings have their economic value ”, says Wolfgang Limmer. Mary remained true to her feelings, but she wasted her strength in doing so. Their ability leads them to economic success, but also to personal defeat. When she realizes this, she deliberately brings about an end, at least in the script version in a clear way. Peter Märthesheimer noted in the press booklet for the film: "She refuses to live easily."

historicity

Using the example of the immediate post-war history of the Federal Republic of Germany, Fassbinder refers to the entire historical development of Germany in the 20th century, which despite all the breaks and upheavals shows a multitude of continuities: the mentality of the petty bourgeoisie, belonging to the authorities and philistineism. This “dialectic of continuity and break” is reflected in the film, Elsaesser notes.

Fassbinder clearly assesses the time as a missed chance of history for a real new beginning from the perspective of the 1970s, thus making a comment on the time the film was made. According to Kaes, it is "about the constellation of past and present, about the moment of knowledge in which the past and the present illuminate each other like a flash". The director wants to show that the displacement mechanisms of the 1950s led to the social explosion in the 1960s, which in turn gave way to resigned disillusionment at the time the film was made. Kaes draws a parallel between the end of Maria Braun's marriage and that of Antonionis Zabriskie Point , where a house also explodes. This motif shows the disappointment of the two directors about the failure of the social utopias, their "helpless aggressiveness towards the 'system' as a whole".

This retrospective consideration, the failure of Maria's private utopia analogous to the failure of the social utopias of the 1960s, is what Fassbinder designs "openly as a construct of a later era," as Kaes comments. The sound in the film does not serve to anchor time, but rather as a counterpoint, the radio sound excerpts as a commentary chorus , for example , the background noise as a sign of an uninterrupted chain of continuity between war and reconstruction; "The war noises of the Third Reich continue in the reconstruction of the Federal Republic", says Sabine Pott. The historical perspective appears to be stylized, less geared towards realistic depiction than the setting of comments based on prominently displayed iconographic images such as the US flag , Hershey chocolate or Camel cigarettes . A close-up of a Camel cigarette packet clearly shows the (anachronistic) designation of origin Federal Republic of Germany , an obvious break with Fassbinder's fiction of history.

Allegory

“Fassbinder's writing of history is private,” Pott notes. By attaching history to a woman's personal fate, he synchronizes her fate with that of her environment. In Fassbinder's work, characters like Maria become “incarnations of their epoch, parabolically they reflect the collective mentality of the time in their politically unconscious private life”. Maria Braun, with her astonishing economic rise, which can only come at the cost of the loss of emotional needs, can be seen as an allegory of the young West Germany with its economic miracle . Anton Kaes suggests that Germany was just as betrayed by Adenauer's strategy of cool treaty policy and rearmament as Maria was by her husband and her lover.

Maria initially uses her status as a " rubble woman " to actively break open patriarchal structures due to the absence of men and to achieve economic prosperity. But this epoch is short-lived: with the end of the immediate post-war period and the first signs of regained national self-confidence, the rule of these active women also ended. Fassbinder makes this clear in the portraits of the heads of government clasping the film, the pictures of the post-war chancellors at the end of the film following the portrait of Hitler at the beginning of the film. Roth comments: "The men have all the trumps in their hands again". Fassbinder justifies the lack of a portrait of Brandt by stating that he has a certain exceptional position in the continuity of the German chancellors: "Despite his failure [...] he still differs from the other chancellors."

The synchronization of public and private levels is in turn done through the commentary function of the radio broadcasts. Adenauer's speech against rearmament at the beginning of the film is followed by one towards the end in which he speaks out in favor of armament . During this second speech, Mary stumbles and vomits; an extreme private reaction to a socio-political development. The last seven minutes of the film, the final confrontation with the truth and the explosion that followed, are accompanied by Herbert Zimmermann's unabridged original report of the final minutes of the final between Germany and Hungary , which can not only be read as a time embedding of the scene, but also as a commentary on Marias Life, to the fight for their marriage, which ends in the explosion, then culminating with Zimmermann's “Aus! Out! Out! - Out! - The game is over!"

Classification and aftermath

The marriage of Maria Braun was the prelude to Fassbinder's so-called BRD trilogy; This was followed by Lola (1981) and The Desire of Veronika Voss (1982), which also used the fate of women to shed light on aspects of post-war history. These films set the tone and paved the way for other German feature films that similarly interwoven the private development of a female protagonist and public history, such as Germany, pale mother ( Helma Sanders-Brahms , 1980) or Edgar Reitz 's Heimat series .

The film cemented Hanna Schygulla's reputation as the ideal Fassbinder actress; According to Elsaesser, she finally became “an icon, an emblem” of Fassbinder's work, even though she had actually already ended her collaboration with the director. The role brought Schygulla to international public interest. Her portrayal of an active woman struggling for freedom and self-determination made her attractive to the feminist zeitgeist of the late 1970s. The popular success achieved with The Marriage of Maria Braun made it easier for Fassbinder to finance his follow-up projects, and the director's dream of realizing major international projects, even being able to work in America, was within reach.

Thanks to its international fame, Maria Braun's marriage established itself alongside Volker Schlöndorff's Oscar-winning tin drum (1980) as a trademark of New German Cinema outside of Europe. On the occasion of the 40th anniversary of the Federal Republic of Germany, Fassbinder's film was honored with a special prize at the German Film Awards in 1989. In 2003 the expert commission of the Federal Agency for Civic Education included Maria Braun's marriage in the film canon . In 2007 Thomas Ostermeier adapted the screenplay by Märthesheimer and Fröhlich for the theater and brought the play with Brigitte Hobmeier as Maria to the stage of the Münchner Kammerspiele ; his production was invited to the 2008 Berlin Theater Meeting.

literature

script

Literary retelling

Secondary literature

  • Sang-Joon Bae: Rainer Werner Fassbinder and his film aesthetic stylization. Gardez! Verlag, Remscheid 2005. ISBN 3-89796-163-6 , pp. 316-327.
  • Thomas Elsaesser : Rainer Werner Fassbinder. Bertz Verlag, Berlin 2001. ISBN 3-929470-79-9 , pp. 153-174.
  • Robert Fischer / Joe Hembus : The New German Film 1960-1980. Wilhelm Goldmann Verlag, Munich 1981. ISBN 3-442-10211-1 . Pp. 162-164.
  • Peter W. Jansen / Wolfram Schütte (eds.): Rainer Werner Fassbinder. 3rd supplemented edition. Carl Hanser Verlag, Munich and Vienna 1979. ISBN 3-446-12946-4 , pp. 182-188.
  • Anton Kaes: Pictures of Germany. The return of history as a film. Edition text + kritik, Munich 1987. ISBN 3-88377-260-7 , pp. 75-105.
  • Sigrid Lange: Introduction to Film Studies. Scientific Book Society, Darmstadt 2007. ISBN 978-3-534-18488-0 . In it a film analysis of The Marriage of Maria Braun : pp. 66–84.
  • Yann Lardeau: "Le mariage de Maria Braun" (review), in Cahiers du cinema , N ° 308, Fevrier 1980, pp. 48-50
  • Sabine Pott: Film as writing history with Rainer Werner Fassbinder. Peter Lang GmbH European Publishing House of Science, Frankfurt am Main 2001. 2nd revised edition 2004. ISBN 3-631-51836-6 , pp. 19–99.
  • Herbert Spaich: Rainer Werner Fassbinder - Life and Work Beltz, Weinheim 1992. ISBN 3-407-85104-9 . Pp. 300-308.
  • Christian Braad Thomsen: Rainer Werner Fassbinder. Life and work of an immoderate genius. Rogner & Bernhard , Hamburg 1993. ISBN 3-8077-0275-X , pp. 353-359.
  • Michael Töteberg : Rainer Werner Fassbinder Rowohlt Taschenbuch, Reinbek 2002. ISBN 3-499-50458-8 . Pp. 116-121.

Web links

References and comments

  1. ↑ Release certificate for the marriage of Maria Braun . Voluntary self-regulation of the film industry , May 2009 (PDF; test number: 50 501 V / DVD / UMD).
  2. ^ Michael Töteberg: Rainer Werner Fassbinder . Rowohlt Taschenbuch Verlag, Reinbek bei Hamburg 2002, ISBN 3-499-50458-8 , p. 116.
  3. ↑ a b Peter Märthesheimer: A wonderful time. In: Peter Märthesheimer, Pea Fröhlich, Michael Töteberg (Hrsg.): The marriage of Maria Braun. A script for Rainer Werner Fassbinder. Belleville Verlag, Munich 1997, ISBN 3-923646-58-5 , p. 5.
  4. ^ Michael Töteberg: Rainer Werner Fassbinder. Rowohlt Taschenbuch Verlag, Reinbek bei Hamburg 2002, ISBN 3-499-50458-8 , p. 117.
  5. ↑ Michael Töteberg: Black Market of Emotions . In: Peter Märthesheimer, Pea Fröhlich, Michael Töteberg (Hrsg.): The marriage of Maria Braun. A script for Rainer Werner Fassbinder. Belleville Verlag, Munich 1997, ISBN 3-923646-58-5 , p. 161.
  6. ↑ a b Peter Berling: The 13 years of Rainer Werner Fassbinder. His films, his friends, his enemies. Gustav Lübbe Verlag, Bergisch Gladbach 1992, ISBN 3-7857-0643-X , p. 332.
  7. ↑ a b Thomas Elsaesser: Rainer Werner Fassbinder. Bertz Verlag, Berlin 2001, ISBN 3-929470-79-9 , p. 463.
  8. ↑ Harry Baer, ​​Maurus Pacher: I can sleep when I'm dead - The breathless life of Rainer Werner Fassbinder. Kiepenheuer & Witsch, Cologne 1982, ISBN 3-462-01543-5 , p. 156.
  9. ↑ a b c d e Thomas Elsaesser: Rainer Werner Fassbinder. Bertz Verlag, Berlin 2001, ISBN 3-929470-79-9 , p. 154.
  10. ↑ a b Michael Töteberg: Black Market of Emotions . In: Peter Märthesheimer, Pea Fröhlich, Michael Töteberg (Hrsg.): The marriage of Maria Braun. A script for Rainer Werner Fassbinder. Belleville Verlag, Munich 1997, ISBN 3-923646-58-5 , p. 155.
  11. ↑ Peter Berling: The 13 years of Rainer Werner Fassbinder. His films, his friends, his enemies. Gustav Lübbe Verlag, Bergisch Gladbach 1992, ISBN 3-7857-0643-X , p. 336.
  12. ↑ Thomas Elsaesser: Rainer Werner Fassbinder. Bertz Verlag, Berlin 2001, ISBN 3-929470-79-9 , p. 153.
  13. ↑ Peter Berling: The 13 years of Rainer Werner Fassbinder. His films, his friends, his enemies. Gustav Lübbe Verlag, Bergisch Gladbach 1992, ISBN 3-7857-0643-X , p. 350.
  14. ↑ Michael Töteberg: Black Market of Emotions . In: Peter Märthesheimer, Pea Fröhlich, Michael Töteberg (Hrsg.): The marriage of Maria Braun. A script for Rainer Werner Fassbinder. Belleville Verlag, Munich 1997, ISBN 3-923646-58-5 , p. 166.
  15. ↑ a b c Thomas Elsaesser: Rainer Werner Fassbinder. Bertz Verlag, Berlin 2001, ISBN 3-929470-79-9 , p. 157.
  16. ↑ Michael Töteberg: Black Market of Emotions . In: Peter Märthesheimer, Pea Fröhlich, Michael Töteberg (Hrsg.): The marriage of Maria Braun. A script for Rainer Werner Fassbinder. Belleville Verlag, Munich 1997, ISBN 3-923646-58-5 , p. 163f.
  17. ↑ Thomas Elsaesser: Rainer Werner Fassbinder. Bertz Verlag, Berlin 2001, ISBN 3-929470-79-9 , p. 22.
  18. ↑ a b c quoted in: Robert Fischer, Joe Hembus: Der Neue Deutsche Film 1960–1980. Wilhelm Goldmann Verlag, Munich 1981, ISBN 3-442-10211-1 , p. 163.
  19. ↑ a b quoted in: Wolfgang Limmer, Rolf Rietzler (documentation): Rainer Werner Fassbinder, Filmmaker. Mirror book. Rowohlt Taschenbuch Verlag, Hamburg 1981, ISBN 3-499-33008-3 , p. 209.
  20. ↑ quoted in: Michael Töteberg: Black Market of Emotions . In: Peter Märthesheimer, Pea Fröhlich, Michael Töteberg (Hrsg.): The marriage of Maria Braun. A script for Rainer Werner Fassbinder. Belleville Verlag, Munich 1997, ISBN 3-923646-58-5 , p. 169. "an impropable cross between Dietrich and Harlow"
  21. ↑ a b Michael Töteberg: Black Market of Emotions. In: Peter Märthesheimer, Pea Fröhlich & Michael Töteberg (eds.): The marriage of Maria Braun. A script for Rainer Werner Fassbinder. Belleville Verlag, Munich 1997, ISBN 3-923646-58-5 , p. 168.
  22. ↑ Michael Töteberg: Black Market of Emotions. In: Peter Märthesheimer, Pea Fröhlich & Michael Töteberg (eds.): The marriage of Maria Braun. A script for Rainer Werner Fassbinder. Belleville Verlag, Munich 1997, ISBN 3-923646-58-5 , p. 169.
  23. ↑ Michael Töteberg: Black Market of Emotions. In: Peter Märthesheimer, Pea Fröhlich & Michael Töteberg (eds.): The marriage of Maria Braun. A script for Rainer Werner Fassbinder. Belleville Verlag, Munich 1997, ISBN 3-923646-58-5 , p. 174.
  24. ↑ a b c Thomas Elsaesser: Rainer Werner Fassbinder. Bertz Verlag, Berlin 2001, ISBN 3-929470-79-9 , p. 159.
  25. ^ Wilhelm Roth: Annotated filmography . In: Peter W. Jansen, Wolfram Schütte (Ed.): Rainer Werner Fassbinder. 3rd supplemented edition, Carl Hanser Verlag, Munich and Vienna 1979, ISBN 3-446-12946-4 , p. 184.
  26. ^ Christian Braad Thomsen: Rainer Werner Fassbinder. Life and work of an immoderate genius. Rogner & Bernhard Verlags KG, Hamburg 1993, ISBN 3-8077-0275-X , p. 356.
  27. ↑ Michael Töteberg: Black Market of Emotions . In: Peter Märthesheimer, Pea Fröhlich, Michael Töteberg (Hrsg.): The marriage of Maria Braun. A script for Rainer Werner Fassbinder. Belleville Verlag, Munich 1997, ISBN 3-923646-58-5 , p. 172.
  28. ↑ a b c Guntram Vogt: The marriage of Maria Braun . In: Thomas Koebner (Ed.): Classic films. Volume 4 1978-1992. 6. Revised and enlarged edition 2006, Philipp Reclam jun., Stuttgart 2006, ISBN 978-3-15-030033-6 , p. 29.
  29. ^ A b Sang-Joon Bae: Rainer Werner Fassbinder and his film aesthetic stylization. Gardez! Verlag, Remscheid 2005, ISBN 3-89796-163-6 , p. 320.
  30. ^ Herbert Spaich: Rainer Werner Fassbinder - Life and Work. Beltz Verlag, Weinheim 1992, ISBN 3-407-85104-9 , p. 306.
  31. ^ Sigrid Lange: Introduction to Film Studies. Scientific Book Society, Darmstadt 2007, ISBN 978-3-534-18488-0 , p. 71.
  32. ^ Sang-Joon Bae: Rainer Werner Fassbinder and his film aesthetic stylization. Gardez! Verlag Remscheid 2005, ISBN 3-89796-163-6 , p. 325.
  33. ↑ Thomas Elsaesser: Rainer Werner Fassbinder. Bertz Verlag, Berlin 2001, ISBN 3-929470-79-9 , p. 166.
  34. ^ Anton Kaes: Pictures of Germany. The return of history as a film. Edition text + kritik, Munich 1987, ISBN 3-88377-260-7 , p. 91.
  35. ↑ Thomas Elsaesser: Rainer Werner Fassbinder. Bertz Verlag, Berlin 2001, ISBN 3-929470-79-9 , p. 169.
  36. ↑ Thomas Elsaesser: Rainer Werner Fassbinder. Bertz Verlag, Berlin 2001, ISBN 3-929470-79-9 , p. 170.
  37. ^ Sang-Joon Bae: Rainer Werner Fassbinder and his film aesthetic stylization. Gardez! Verlag, Remscheid 2005, ISBN 3-89796-163-6 , p. 324.
  38. ↑ Fassbinder in the summer of 1980 to Christian Braad Thomsen, quoted in: Robert Fischer (Ed.): Fassbinder about Fassbinder. Verlag der Authors Frankfurt am Main 2004, ISBN 3-88661-268-6 , p. 489.
  39. ↑ a b Thomas Elsaesser: Rainer Werner Fassbinder. Bertz Verlag, Berlin 2001, ISBN 3-929470-79-9 , p. 164.
  40. ^ Anton Kaes: Pictures of Germany. The return of history as a film. Edition text + kritik, Munich 1987, ISBN 3-88377-260-7 , p. 86.
  41. ^ Sigrid Lange: Introduction to Film Studies. Scientific Book Society, Darmstadt 2007. ISBN 978-3-534-18488-0 , p. 68
  42. ^ Anton Kaes: Pictures of Germany. The return of history as a film. Edition text + kritik, Munich 1987. ISBN 3-88377-260-7 , pp. 79f
  43. ^ Christian Braad Thomsen: Rainer Werner Fassbinder. Life and work of an immoderate genius. Rogner & Bernhard Verlags KG, Hamburg 1993, ISBN 3-8077-0275-X , p. 355.
  44. ^ Wolfgang Limmer, Rolf Rietzler (documentation): Rainer Werner Fassbinder, filmmaker. Mirror book. Rowohlt Taschenbuch Verlag Hamburg 1981, ISBN 3-499-33008-3 , p. 35.
  45. ↑ quoted in: Robert Fischer, Joe Hembus: Der Neue Deutsche Film 1960–1980. Wilhelm Goldmann Verlag, Munich 1981, ISBN 3-442-10211-1 , p. 164.
  46. ^ Wilhelm Roth: Annotated filmography In: Peter W. Jansen, Wolfram Schütte (Ed.): Rainer Werner Fassbinder. 3rd supplemented edition. Carl Hanser Verlag, Munich and Vienna 1979, ISBN 3-446-12946-4 , p. 187.
  47. ↑ a b Thomas Elsaesser: Rainer Werner Fassbinder . Bertz Verlag, Berlin 2001, ISBN 3-929470-79-9 , p. 160.
  48. ^ Anton Kaes: Pictures of Germany. The return of history as a film. Edition text + kritik, Munich 1987, ISBN 3-88377-260-7 , p. 79.
  49. ^ Anton Kaes: Pictures of Germany. The return of history as a film. Edition text + kritik, Munich 1987, ISBN 3-88377-260-7 , p. 104.
  50. ^ Anton Kaes: Pictures of Germany. The return of history as a film. Edition text + kritik, Munich 1987, ISBN 3-88377-260-7 , p. 101.
  51. ^ Sabine Pott: Film as writing history with Rainer Werner Fassbinder. Peter Lang GmbH European Publishing House of Science, Frankfurt am Main 2001, 2nd revised edition 2004, ISBN 3-631-51836-6 , p. 79.
  52. ↑ Thomas Elsaesser: Rainer Werner Fassbinder. Bertz Verlag, Berlin 2001, ISBN 3-929470-79-9 , p. 160.
  53. ^ Sabine Pott: Film as writing history with Rainer Werner Fassbinder. Peter Lang GmbH European Publishing House of Science, Frankfurt am Main 2001, 2nd revised edition 2004, ISBN 3-631-51836-6 , p. 20.
  54. ^ Anton Kaes: Pictures of Germany. The return of history as a film. Edition text + kritik, Munich 1987, ISBN 3-88377-260-7 , p. 83.
  55. ↑ Thomas Elsaesser: Rainer Werner Fassbinder. Bertz Verlag, Berlin 2001, ISBN 3-929470-79-9 , p. 162.
  56. ^ Anton Kaes: Pictures of Germany. The return of history as a film. Edition text + kritik, Munich 1987, ISBN 3-88377-260-7 , p. 100.
  57. ^ Wilhelm Roth: Annotated filmography . In: Peter W. Jansen, Wolfram Schütte (Ed.): Rainer Werner Fassbinder. 3rd supplemented edition, Carl Hanser Verlag, Munich and Vienna 1979, ISBN 3-446-12946-4 , p. 185.
  58. ↑ Fassbinder in 1979 opposite the zitty , quoted in: Robert Fischer, Joe Hembus: Der Neue Deutsche Film 1960–1980. Wilhelm Goldmann Verlag, Munich 1981, ISBN 3-442-10211-1 , p. 164.
  59. ^ Anton Kaes: Pictures of Germany. The return of history as a film. Edition text + kritik, Munich 1987, ISBN 3-88377-260-7 , p. 84.
  60. ^ Sabine Pott: Film as writing history with Rainer Werner Fassbinder. Peter Lang GmbH European Publishing House of Science, Frankfurt am Main 2001, 2nd revised edition 2004, ISBN 3-631-51836-6 , p. 73.
  61. ↑ Thomas Elsaesser: Rainer Werner Fassbinder. Bertz Verlag, Berlin 2001, ISBN 3-929470-79-9 , p. 464.
  62. ↑ Thomas Elsaesser: Rainer Werner Fassbinder. Bertz Verlag, Berlin 2001, ISBN 3-929470-79-9 , p. 161.
  63. ↑ Thomas Elsaesser: Rainer Werner Fassbinder. Bertz Verlag, Berlin 2001, ISBN 3-929470-79-9 , p. 155.
  64. Jump up ↑ A Wonderful Marriage , Der Tagesspiegel, May 6, 2008 (accessed March 16, 2010)
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