Wednesday, July 20, 2016
Wirtschaftswunder of the 1950s and '60s. It's a sardonic story about a woman who claims to be faithful in her fashion to Hermann Braun (Klaus Löwitsch), the soldier she married during an air raid in 1943, despite her affairs with a black American soldier (George Eagles) and a French industrialist (Karl Oswald). In Fassbinder's hands, the story of Maria Braun becomes overlaid with the history of Germany after the war, including scenes in which the dialogue is often partly obscured by radio speeches by German politicians like Konrad Adenauer, the architect of German recovery. "I prefer making miracles rather than waiting for them," Maria proclaims at one point. Fassbinder's portrait of Maria is occasionally elliptical: We don't know, for example, whether she aborted the child she conceived with the American soldier or lost it in childbirth, partly because she seems indifferent to the fact, and Fassbinder leaves it up to us to decide whether the explosion in which she dies at the end is an accident or suicide. The screenplay by Pea Fröhlich and Peter Märthesheimer was based on an idea by Fassbinder, who also contributed to the dialogue. The cinematography is by Michael Ballhaus.