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Mother Küsters Goes to Heaven (1975)

Mutter Küsters' Fahrt zum Himmel (original title)
Frau Kusters is preparing dinner late one seemingly ordinary afternoon in her seemingly ordinary kitchen in Frankfurt, Germany. Mrs. Kusters wants to add canned sausages to the stew, her ... See full summary »
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2 nominations. See more awards »
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Cast

Cast overview, first billed only:
Brigitte Mira ...
Ingrid Caven ...
Corinna
...
Frau Thälmann
...
Thälmann
...
Helene
...
Niemeyer
Peter Kern ...
Nachtclubbesitzer
...
Barbesitzer Gustav
Gustav Holzapfel ...
Herr Holzapfel
Lilo Pempeit ...
Sekretärin
Peter Chatel ...
Photograph
Peter Bollag ...
Photograph
Vitus Zeplichal ...
Reporter
...
Photograph
Y Sa Lo ...
Terroristin
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Storyline

Frau Kusters is preparing dinner late one seemingly ordinary afternoon in her seemingly ordinary kitchen in Frankfurt, Germany. Mrs. Kusters wants to add canned sausages to the stew, her annoying daughter-in-law thinks otherwise. The point, we soon find out, is moot: Mr. Kusters has murdered the personnel director at the soap factory where he works before committing suicide. Written by Tim Horrigan <horrigan@aol.com>

Plot Summary | Plot Synopsis

Genres:

Drama

Certificate:

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Details

Country:

Language:

Release Date:

23 March 1976 (Denmark)  »

Also Known As:

Mother Küsters Goes to Heaven  »

Box Office

Budget:

DEM 750,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Sound Mix:

Color:

Aspect Ratio:

1.37 : 1
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User Reviews

 
Good Fassbinder with a great Brigitte Mira
31 March 2005 | by (Saint Paul, MN) – See all my reviews

Good Fassbinder, if a little lethargic. Brigitte Mira, who just passed away earlier this month, plays a housewife who has long settled in her uneventful life. One day, however, her husband commits murder-suicide at the factory in which he works. Suddenly she has to deal with the media, as well as her uncaring family. She can't really figure out why her husband did what he did. Luckily, some local communists show up to help her figure it out. Soon she's a pawn in their politics. And, when they don't satisfy her need for an explanation, a group of anarchists steps in to use her for their own political purposes. The film ends twice – once we read Fassbinder's original scripted ending, then we see the ending he did use. Both work, though I think the first, unfilmed one is a lot more Fassbinder-esque. Mira is wonderful, as usual; some of the family material is too close to Fear Eats the Soul, and is rendered somewhat ineffective because of that.


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