Plot so thin, it passes unnoticed.

Charming and brutal

Absolutely Fantastic

A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

Martha, the titular character of Rainer Fassbinder's 1974 made for TV (but nonetheless acclaimed) film Martha is the kind of character I detest more than any other. If there is one characteristic that defines her it is weakness. Her weakness can be seen from the very beginning, as an early scene shows her as she runs away from an emergency situation. Later, shortly after the death of her father, she begins to try things that her father had forbid her to do; thus it becomes clear that her will has been subsumed by that of her parent. Nonetheless, Martha leads a fairly happy life until she marries a domineering sadist. A good portion of the film portrays her sickening subservience to this petty tyrant and the pitiful efforts she makes to change her situation inevitably worsen it because they are so passive and ineffectual. The plot of this film makes for a maddeningly unpleasant viewing experience.At the same time, Fassbinder's film-making powers are never less than formidable, particularly in some of the earlier sequences here. Fassbinder sets the early, happy scenes in vast, richly decorated interiors. There are a lot of interesting juxtapositions created through the use of mirror images and unusual angles. Exterior scenes are also visually sumptuous, a bit like the work of French New Wave director Eric Rohmer, Academy ratio and all. Later, as the film turns more miserable the interiors seem to shrink and their uniform lack of design reflect Martha's new hopelessness. The exteriors seem to grow into vast wildernesses at the cost of their former beauty. Needless to say, Fassbinder is adept at using a character's surrounding (and the mise en scene) to suggest that character's mood.This is the third Fassbinder film I've seen and I must say that while I haven't been blown away by any of his films, his direction remains a strong point in each one. No doubt I'll eventually see one where the other aspects of the film are just as satisfying as the direction. Martha is not that film but it does increase my appreciation for Fassbinder's artistry.

Martha is disturbing yet very interesting. It's a psychological drama portraying a complex sadomasochistic relationship in which a man, Helmut (Karlheinz Böhm) slowly destroys his wife Martha (Margit Carstensen). There's no background music to underline the emotions of the characters and the camera concentrates on the people (the landscape - be it beach, sky, land, house - remains in the faraway background). As Helmut slowly shuts his wife out of the world outside, so as to have her solely for his own use, the claustrophobic feeling of the film grows in such a way as to become unbearable. There'a moment in which Martha realizes dimly what is being done to her, and there's the last flight to freedom, doomed to failure."Martha" doesn't explain everything - it gives hints and is open to interpretations. Many questions remain unanswered. I've surprised myself thinking about the film (Martha, oh why?) days after having seen it.The interpretations are excellent (especially Margit Carstensen as Martha). This is not a comfortable film to watch but it's a memorable study of human relationships.

Yes, hysterical as in exaggerated comedy, and hysterical as in the title character freaking out over her bizarre, ever-degenerating marriage. This is great Fassbinder film-making--the performances, cinematography, and dialogue are brilliant. As in many of his films, Fassbinder takes a perverse joy in keeping the audience balanced between comedy and melodrama, the laughs always tinged with apprehension. The colors are dominated by lurid reds. The arc of the story keeps one queasy as to how horrible the outcome might be.The famous Sirk influence is very obvious in this as in many of RF's early 70's films, but what struck me is the equally obvious influence of Bunuel on Fassbinder's movies. "Martha" owes a great deal to "Belle du Jour" and "Tristana" among many other of the Spanish master's films about the natural perversity of male-female relationships.

I was so amazed by this genius, the way that Fassbinder holds his camera as if it was his own child. I've rarely seen somebody mastering the art of camera as much as Fassbinder does. He's all over it, he sees beyond the human eye. The shot where Martha meets Helmuth for the first time in Roma is amazing... my heart stopped for about 3 seconds... I couldn't believe what I just saw...I saw this shot many times but I was afraid that I might loose interest in it if I kept playing it again and again. But I didn't. As for the story, it is very beautiful indeed, strange and disturbing. It's one of the best filmed movie ever done in my opinion. Don't miss it.