A Masterpiece!

I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

The movie runs out of plot and jokes well before the end of a two-hour running time, long for a light comedy.

One of the best movies of the year! Incredible from the beginning to the end.

From director Rainer Werner Fassbinder (The Bitter Tears of Petra Von Kant, Fear Eats the Soul, Fox and His Friends, I assumed this was a German war film about the sister or another female relative of Eva Braun, and even though it wasn't I watched with interest. Basically, set in Germany, 1943, and during a bombing raid by Allied forces, Maria (Hanna Schygulla) is married to soldier Hermann Braun (Klaus Löwitsch), but after only a short time together he returns to the front, and she is later told he has been killed. She starts work in a bar, often visited by Americans, as a hostess, and after a relationship with African-American soldier Bill (George Byrd) she becomes pregnant with his baby, but she is shocked to be caught with him by Hermann who is in fact alive. In the fight between the two men, Maria unintentionally kills Bill hitting him over the head with a full bottle, but when she expresses love for her husband he takes the blame for the crime and is put in prison. After aborting her pregnancy she heads home on a train and gets the attention of Karl Oswald (Ivan Desny) the old wealthy industrialist, and he offers her a new job as his assistant, and of course she soon becomes his mistress. Maria tells Hermann in prison about the latest events, promising their life will get going again after he is released, and she earns loads of money to buy a new house, Oswald even visits her husband to offer him and his wife his wealth if he leaves his wife after he is released. This offer is kept a secret, but when Hermann is let out he heads for Canada, only sending his wife a gift every month so she knows he still loves, and when he finds out that that Oswald has died he returns to Germany. In Oswald's will that executor Senkenberg (Hark Bohm) reads out, the secret agreement between him and Hermann is revealed, and in distress she ends her life by lighting her cigarette and creating a gas explosion. Also starring Gisela Uhlen as Mother, GoldenEye's Gottfried John as Willi Klenze and Elisabeth Trissenaar as Betti Klenze. In the leading role Schygulla gives a good emotionally up and down performance, the story set in the war is admittedly a little confusing for me at times, but it had some good melodramatic moments, full of the sort of things you get in those kinds of genre films, so it is certainly a worthwhile romantic drama. It was nominated the Golden Globe for Best Foreign Film. Good!

This film exhibits artful cinematic techniques wherein instead of landscape capturing the attention of the camera it is small details in how someone appears, how the woman may be wearing a cocktail hat and wrapped in a sheet. How the husband may be wearing a hat and socks and shoes and his underwear and both seem so completely at ease and comfortable. How provocative the woman is posed is another feature of the tableau that the director chooses to let us know she is a free spirit sexually and aims to get the pleasure she seeks without flirting directly or with any particular sensitivity to what the man may be feeling. The relationship between the wife and husband is unique. It is an open one wherein she holds nothing back, feels no particular shame for how she has behaved and wants to share these facts with him because her primary focus always is on the fact of their marriage. Nothing and no one can come between the two of them. Only the chances of fate can intervene---his imprisonment during the war and what follows after his return at long last. A very intriguing film which is totally absorbing.

Sensual and tough Maria Braun. (Hanna Schygula) marries a soldier in the middle of World War II and spends a half of day and the whole night with him. That's how long her marriage lasts before she loses him to the war and then to prison. She carries on with her life, becomes a successful businesswoman being not only sensual but intelligent, ambitious, and willing to use sex whenever or wherever necessary: "I don't know a thing about business, but I do know what German women want. You might even say I'm an expert on it". While climbing up to the success she always remembers her husband, Hermann (her man) and convinces herself that whatever she does – is for him, for their future happy life together. "Maria Braun"'s style reminds much of melodramas by Fassbinder's favorite Hollywood director, Douglas Sirk and offers a glimpse of the loss and survival in postwar Germany. Hanna Schygula literally shines in every scene of the movie and she is fantastic.8.5/10

Fassbinder's most lavish production sacrifices little of his talent for identifying and deconstructing a locus of suffering in long, mobile takes that somehow also act as social encapsulations; here, it's much more overt, since the story takes place in war-torn Germany at the end of WWII. The central character is a woman (Hanna Schygulla as Maria) who capitalizes on vulnerabilities (both economic and gender-related) to catapult herself up the ladder of a prominent textile corp. that makes coveted goods like lederhosen available to indigent workers (as she once was). Married amidst allied air raids, Maria and her new husband Herrmann are allowed a brief honeymoon before he's shipped out to the Russian front. In his absence, her despair is great: she spends most days at the train station, waiting for him to return. When he is reported dead, she abruptly stops grieving and takes a job as a barmaid/prostitute at a brothel catering to American GIs.When he returns, things get plenty messy, as circumstances (and his sense of noble self-sacrifice) conspire to keep them apart. The message is Fassbinder's M.O. writ large: "Love is colder than death." Not only is Maria contending with her own sanity and a husband largely incapable of loving her, but also with a country in deep flux with no discernible light at the end of the tunnel. Fassbinder is making some kind of statement on post-war Germany selling out to the highest bidder, but as with all his films, I tend to block those elements out and focus on the unbearable passions on display: Fassbinder's as evoked through his characters; his actors' as filtered through their real-life connections with Fassbinder. Taken together, his films can be either unbearable or indescribably mesmeric, often at once; this falls somewhere in-between, although definitely closer to the latter. While I didn't like it quite as much as The Bitter Tears of Petra von Kant or Katzelmacher, Maria Braun certainly has a greater scope and what's more, I could feel its passion and authentic detail to human emotions.