The series (11 episodes) tells the story of the village Schabbach, on the Hunsrueck in Germany through the years 1919-1982. Central person is Maria, who we see growing from a 17 year old ... See full summary »
The movie consist of 13 separate episodes each handling a period between 1960 and 1970. The length of these periods varies from one day to some years. It tells the story of a group of ... See full summary »
1885. For the opera festival it has organized, the small town of Imlingen has invited a famous singer, Maddalena Dall'Orto, who will not only sing at the local opera but will also perform ... See full summary »
Germany in Autumn does not have a plot per se; it mixes documentary footage, along with standard movie scenes, to give the audience the mood of Germany during the late 1970s. The movie ... See full summary »
This is not only a sequel to the "Second Heimat", but also a chronicle of a very decisive decade for Germany (1989 to 200). The main couple of the mini-series released in 1992, Hermann ... See full summary »
The series (11 episodes) tells the story of the village Schabbach, on the Hunsrueck in Germany through the years 1919-1982. Central person is Maria, who we see growing from a 17 year old girl to an old woman, and her family. The family, like the rest of the German people live through the crises after WW-I, the rise and fall of Nazism and WW-II, and the rebuilding and the following prosperity of the village (as a symbol for the whole country) after WW II. Written by
Roemer Lievaart <firstname.lastname@example.org>
In the narration at the beginning of "Das Fest der Lebenden und der Toten" we are told that Pauline died in 1979. However on the family tree the date is listed as 1975. This is confirmed when Hermann visits the grave and the date on the tombstone is 1975. See more »
Usually, the index deals only with feature length films; however, HEIMAT is an exception, since it is structurally a very long full length movie. The index considers seven variables--acting, plot, production sets,dialogue, artistry, character development, and film continuity--on a scale from 10 as high, 5 as average, and 1 as weak. On all counts, HEIMAT rates a 10. The acting is simply outstanding on every level, from major to minor characters to atmospheres. Even so, two performances are superior: Marita Breuer as Maria and Rudiger Weigang as Eduard. Breuer's facial expressions and eye movements speak volumes. In this case, less is indeed more. Weigang's acting is worthy of the highest one would find on the Shakespearian stage, a Polonius with precise body movement. It is a pleasure to watch both performers. Attention to plot is paramount in a long production, and there are no unnecessary scenes or fill-ins. Both the chronicles of the Simon family and that of Germany are effectively interwoven. One is never bored watching this marathon. The dialogue is appropriate, and the artistry exceptional--especially if the fair scene near the conclusion. Character development is reflected in a natural development over the time of the movie. Suffice it to say that everyone changes to one degree or another. The film continuity is special, held together with change and the changes change brings. There seem to be two minor flaws in the film's continuity: the plane which Ernst flys over the town and the Army MPs who appear in 1944. The plane looks more like a pre-WW II US trainer used by the Canadians who joined the RAF. It certainly is not the Focke-Wulf 190 which Eduard suggests it is. And, secondly, the two American MPs who appear at the Simons' front door in 1944 seem miscast ed. It is not likely that two moustached black MPs from a yet not officially integrated US Army would appear in a small farming community in Germany in 1944. It seems that they better fit MPs from a much later occupying force. I always wonder why these apparent flaws happen. Overall, this mini-series is excellent. I highly recommend you put aside some time and watch it all, which is inevitable once you have seen Part I.
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