Мария Браунның үйленуі

1979 film by Rainer Werner Fassbinder

The Marriage of Maria Braun (Die Ehe der Maria Braun) is a 1978 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 post war imprisonment. Maria adapts to the realities of post war Germany and becomes the wealthy mistress of an industrialist, all that while staying true to her love for Hermann. The Marriage of Maria Braun was one of the more successful works of Fassbinder and shaped the image of the New German Cinema in foreign countries. It has also been acclaimed by many critics as one of Fassbinder’s most profound accomplishments. It is the first installment of Fassbinder's BRD Trilogy, followed by Lola (1981) and Veronika Voss (1982).

During an Allied bombing raid in 1943, Maria Berger and Hermann Braun marry. The next day, Hermann returns to the Eastern front. At war's end, Maria is told that Hermann died. To support herself, her mother and grandfather, Maria works as a prostitute in an underground bar that allows only Allied soldiers as patrons. She begins a relationship with 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 a pregnancy. On the day that she tells Bill of the pregnancy, Hermann returns home; he had been a prisoner of the Russian army. A fight ensues, and Maria kills Bill. At the trial, Hermann testifies that he killed Bill. Maria's child is stillborn. She tells Hermann that she will find work experience 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 quickly displays a ruthless instinct for business affairs, closing many deals with her sexual wiles and taking hard line stances against labor movements. Maria keeps Hermann informed of all of her actions, including the affair, reminding him that she is becoming wealthy and has bought a house for them. Oswald 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. On 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. Following Oswald's death in 1954, Hermann returns to Germany and to Maria. When Oswald's will is read by Senkenberg, the executor, Maria finds out about the agreement that Oswald and Hermann made. Distressed, Maria and Hermann briefly argue about how they supposedly sacrificed through their whole life for each other. When she lights a cigarette, she accidentally ignites the 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 are killed in the explosion.

The idea for The Marriage of Maria Braun can be traced to the collaboration of Rainer Werner Fassbinder and 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 together with Klaus Dieter Lang and Kurt Raab and presented it in the early 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 together. Although it was Märthesheimer's and Fröhlich's first screenplay their knowledge of Fassbinder's works allowed them to match the screenplay to the characteristic style and structure of Fassbinder's other works. Fassbinder changed only a few details in the completed screenplay, including some dialogue and the end of the film. Instead of Maria Braun committing suicide in a car accident she dies in a gas explosion, leaving it unclear whether she committed suicide or died accidentally. The producer of the film was Fassbinder's longtime collaborator Michael Fengler with his production company Albatros Filmproduktion. As Fassbinder was embroiled in a controversy over his stage play Der Müll, die Stadt und der Tod he was not ready for starting to shoot the film and withdrew to Paris, where he worked on the screenplay for Berlin Alexanderplatz. 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 the role of Maria Braun. Due to Schneider's alcohol problems, fickleness, and demands, the role was then given to Hanna Schygulla, her first collaboration with Fassbinder for several years. Yves Montand also showed interest in the film, but wanted to play Maria's husband Hermann and not – as suggested by Fassbinder and Fengler – the industrialist Oswald. As the role of Hermann was already promised to Klaus Löwitsch, Montand was ultimately not offered any role. Fengler had promised Fassbinder's Tango Film a share of 50 percent of the film profits, but as Fengler by offering Trio Film a share in the film effectively oversold the rights only 15 percent of the film right ultimately remained with Fassbinder. Fassbinder subsequently referred to Fengler as gangster and it led to litigations against Fengler that continued even after Fassbinder's death. Shooting began in January 1978 in Coburg. Bad tempered and quarrelsome, Fassbinder shot the film during the day and worked on the script to Berlin Alexanderplatz during the night. In order to sustain his work 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 why the film went over the budget, as the cash for the cocaine was coming from Fengler. Eckelkamp invested a further 473,000 DM to pay off the debts of the film production and became the sole owner of the rights to the film. Owning all film rights, Eckelkamp negotiated a distribution deal with United Artists, thus outmaneuvering the Filmverlag der Autoren, which was usually distributing Fassbinder's films. 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 from March over a period of three months, thus increasing public interest in the film. The official premiere of the film was on 20 February during the 29th Berlin International Film Festival. The West German theatrical release was on 23 March. At the Berlin International Film Festival Hanna Schygulla won the Silver Bear for Best Actress, which did not satisfy Fassbinder who expected to win the Golden Bear.

German film critics responded very positively to the film and praised the film's combination of artistic values with mass appeal. In the weekly newspaper Die Zeit Hans Christoph Blumenberg called the film "the most accessible (and thus most commercial) and mature work of the director". Karena Niehoff wrote in the daily newspaper 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". Hanna Schygulla was praised by many film critics. In the Süddeutsche Zeitung on 23 March 1979 Gottfried Knapp wrote that the director gave her a magnificent opportunity to display her acting talent, and that her character, emotions, charm and energy had an enormous effect. The film and Hanna Schygulla were also praised by foreign film critics. In The New Yorker, David Denby called Schygulla "an improbable cross between Dietrich and Harlow". Schygulla, too, was the runner up for the National Society of Film Critics Award for Best Actress that year, losing to Sally Field for Norma Rae. François Truffaut commented in 1980 in the Cahiers du cinéma that with this film Fassbinder "has broken out of the ivory tower of the cinephiles", and that the film is "an original work of epic and poetic qualities" influenced by Godard's Contempt, Brecht, Wedekind and Douglas Sirk and particularly touching is his idea of a man who looks on men and on women with equal fondness. The New York Times placed the film on its Best 1000 Movies Ever list.

The Marriage of Maria Braun was not only a critical, but also a commercial success. From its release until October 1979 more than 900,000 tickets were sold in West Germany, and was shown for up to 20 weeks in some film theaters. In West Germany alone the film grossed more than $3 million. 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 to be the official German submission. Almost one year later the film was nominated for a Golden Globe Award for Best Foreign Language Film at the 37th Golden Globe Awards, but this success was overshadowed by the success of Volker Schlöndorff's The Tin Drum at the 52nd Academy Awards. The commercial success of The Marriage of Maria Braun strengthened the negotiation position of Fassbinder in his subsequent film 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 an interest in making films with Fassbinder. The seasoned film producer Luggi Waldleitner would produce the Fassbinder film Lili Marleen with Hanna Schygulla in the main role. Horst Wendlandt would produce the two other films in the BRD Trilogy, Lola and Veronika Voss. His success also allowed him to realize his last project, Querelle which was co financed by Gaumont. As Fengler had oversold the rights to the film, the profit share of Fassbinder was an open question. Eckelkamp saw himself as the sole owner of all rights, but sent a check in the amount of 70,000 DM to Fassbinder in 1982 to appease the director. After Fassbinder's death his mother and heiress Liselotte Eder revived the claims, but was rejected by Eckelkamp. 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 DM and a net profit of 1 million DM. When Trio Film was ordered to pay to Fassbinder's heirs 290,000 DM Eckelkamp refused. At the request of the Rainer Werner Fassbinder Foundation 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 ruling was upheld by the Federal Court of Justice, but also ruled that the Fassbinder heirs were entitled to a share of the film's profits. Today all film rights are owned by the Rainer Werner Fassbinder Foundation.