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The Marriage of Maria Braun (1979)

Die Ehe der Maria Braun (original title)
A World War II widow seeks to adjust to life in postwar Germany.


(screenplay), (screenplay) | 4 more credits »
Nominated for 1 Golden Globe. Another 13 wins & 4 nominations. See more awards »
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Cast overview, first billed only:
Hermann Braun
Gisela Uhlen ...
Betti Klenze
Hark Bohm ...
George Eagles ...
Bill (as George Byrd)
Günter Lamprecht ...
Hans Wetzel (as Günther Lamprecht)
Anton Schiersner ...
Grandpa Berger
Lilo Pempeit ...
Frau Ehmke
Sonja Neudorfer ...
Red Cross nurse
Train conductor


This movie follows the life of a young German woman, married to a soldier in the waning days of WWII. Fassbinder has tried to show the gritty life after the end of WWII and the turmoil of the people trapped in its wake. Written by Neel V Kumar <neelvk@iname.com>

Plot Summary | Plot Synopsis


The Marriage Of Maria Braun. . . the marriage lasted no longer than half a day and a full night.




R | See all certifications »

Parents Guide:






Release Date:

23 March 1979 (West Germany)  »

Also Known As:

The Marriage of Maria Braun  »

Filming Locations:


Box Office


DEM 1,975,000 (estimated)

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:



Aspect Ratio:

1.66 : 1
See  »

Did You Know?


The baby crying in the opening sequence to the sound of the sirens and gunfire is a specific reference to Rainer Werner Fassbinder's autobiography. See more »


Karl Oswald: Senkenberg's basically a good fellow, and so am I.
Maria Braun: I'm not.
See more »

Crazy Credits

At the very end of the credits the following persons are 'credited' by their picture: Konrad Adenauer, Ludwig Erhard, Kurt Georg Kiesinger and Helmut Schmidt and a disconnected phone line can be heard. See more »


Referenced in Lost River (2014) See more »


In The Mood
Written by Wingy Manone, Andy Razaf and Joe Garland
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User Reviews

bad times for feelings
29 January 2004 | by See all my reviews

A complex, pessimistic tale of post WWII Germany, this is one of Fassbinder's masterpieces that brings a step beyond the classic melodrama form articulated by Douglas Sirk. When Hanna Schygulla says to her husband in prison `this are bad times for feelings' it is Fassbinder saying that in the seventies cinema there's no place for the classic melodrama of the 40s and 50s, unless all the craze that then was suggested now turns somehow more explicit. Fassbinder has a quality of elevating low elements into the realms of High Art, not only through the services of his personal use of the camera, but also through an admirable compassion towards his material.

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