Sporadically this does demonstrate masterful dialog and especially finely crafted direction from the distinguished German filmmaker, but summing it's entirety as a masterpiece feels way overpraised. There seems to be almost as much dead weight being carried around in The Marriage of Maria Braun as there is subtle grace.
Thankfully to aid Fassbinder's articulate work is lead (and apparent muse) Hanna Schygulla. Her transformation, however underhanded in pace, is entertaining to behold and probably one of the stronger female performances of the time. She exudes a sensuality better suited for long pauses then line recitals, but overall does an admirable job through and through.
Purists may revel in it's technical pronunciations and metaphoric finesse, but a certain emotional detachment lingers the entire time- contrary to what the script would imply. Don't let the typical European surprise shock ending and over-theorized allegorical conjecture fool you into calling this a masterpiece, it is still just a reasonably well made journey into the female psyche of post-war Germany.
Thankfully to aid Fassbinder's articulate work is lead (and apparent muse) Hanna Schygulla. Her transformation, however underhanded in pace, is entertaining to behold and probably one of the stronger female performances of the time. She exudes a sensuality better suited for long pauses then line recitals, but overall does an admirable job through and through.
Purists may revel in it's technical pronunciations and metaphoric finesse, but a certain emotional detachment lingers the entire time- contrary to what the script would imply. Don't let the typical European surprise shock ending and over-theorized allegorical conjecture fool you into calling this a masterpiece, it is still just a reasonably well made journey into the female psyche of post-war Germany.