IMDb > "Heimat: A Chronicle of Germany" (1984)
"Heimat - Eine deutsche Chronik"
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"Heimat: A Chronicle of Germany" (1984) More at IMDbPro »"Heimat - Eine deutsche Chronik" (original title), TV mini-series 1984-

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Overview

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Seasons:
1
Release Date:
31 March 1985 (USA) See more »
Genre:
Plot:
The series (11 episodes) tells the story of the village Schabbach, on the Hunsrueck in Germany through the years 1919-1982... See more »
Awards:
5 wins See more »
User Reviews:
The last great melodrama? See more (17 total) »

Cast

 (Series Cast Summary - 17 of 67)
Marita Breuer ... Maria Simon (11 episodes, 1984)
Kurt Wagner ... Glasisch Karl / ... (11 episodes, 1984)
Rüdiger Weigang ... Eduard Simon (11 episodes, 1984)
Eva Maria Schneider ... Marie-Goot (11 episodes, 1984)
Karin Rasenack ... Lucie Hardtke (10 episodes, 1984)
Johannes Lobewein ... Alois Wiegand (10 episodes, 1984)
Gertrud Bredel ... Katharina / ... (9 episodes, 1984)
Eva Maria Bayerwaltes ... Pauline (9 episodes, 1984)
Hans-Jürgen Schatz ... Wilfried Wiegand (9 episodes, 1984)
Johannes Metzdorf ... Pieritz (8 episodes, 1984)
Wolfram Wagner ... Maethes-Pat / ... (7 episodes, 1984)
Willi Burger ... Mathias / ... (6 episodes, 1984)
Arno Lang ... Robert Kröber (6 episodes, 1984)
Sabine Wagner ... Martha Simon (6 episodes, 1984)
Helga Bender ... Martina (6 episodes, 1984)
Alexander Scholz ... Hänschen (6 episodes, 1984)
Jörg Hube ... Otto Wohlleben (5 episodes, 1984)
(more)
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Series Directed by
Edgar Reitz (11 episodes, 1984)
 
Series Writing credits
Edgar Reitz (11 episodes, 1984)
Peter F. Steinbach (11 episodes, 1984)

Series Produced by
Hans Kwiet .... producer (unknown episodes)
Edgar Reitz .... producer (unknown episodes)
Joachim von Mengershausen .... producer (unknown episodes)
 
Series Original Music by
Nikos Mamangakis (11 episodes, 1984)
 
Series Cinematography by
Gernot Roll (11 episodes, 1984)
 
Series Film Editing by
Mulle Goetz-Dickopp (11 episodes, 1984)
Margarete Rose (11 episodes, 1984)
Caroline Meier (9 episodes, 1984)
Carola Aulitzky (5 episodes, 1984)
Heidi Handorf (3 episodes, 1984)
Kirsten Liesenborghs (3 episodes, 1984)
 
Series Production Design by
Franz Bauer (unknown episodes)
 
Series Costume Design by
Reinhild Paul (3 episodes, 1984)
Regine Bätz (2 episodes, 1984)
Ute Schwippert (2 episodes, 1984)
 
Series Makeup Department
Lore Sottung .... makeup artist (11 episodes, 1984)
Paul Schmidt .... makeup artist (4 episodes, 1984)
Birgit Reinert .... makeup artist (3 episodes, 1984)
Ruth Noé .... makeup artist (2 episodes, 1984)
 
Series Production Management
Inge Richter .... production manager (3 episodes, 1984)
 
Series Second Unit Director or Assistant Director
Robert Busch .... assistant director (11 episodes, 1984)
Elke Vogt .... assistant director (7 episodes, 1984)
Martin Höner .... assistant director (2 episodes, 1984)
 
Series Casting Department
Robert Busch .... casting (11 episodes, 1984)
 

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Additional Details

Also Known As:
"Heimat - Eine deutsche Chronik" - West Germany (original title)
See more »
Runtime:
90 min (11 episodes)
Country:
Language:
Aspect Ratio:
1.33 : 1 See more »
Sound Mix:
Certification:

Did You Know?

Goofs:
Continuity: 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 »
Movie Connections:
Features La Habanera (1937)See more »

FAQ

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72 out of 74 people found the following review useful.
The last great melodrama?, 22 September 1999
Author: Darragh O' Donoghue (hitch1899_@hotmail.com) from Dublin, Ireland

How do I begin to extol this extraordinary film, of which it can truly be said 'all life is here'. I hadn't seen HEIMAT since I was seventeen, and was thrilled to discover that it was every bit as enthralling and rich as I'd remembered, a whole other world to lose myself in. First things first: YOU MUST WATCH THIS FILM. I know that sounds a little peremptory - hey, we haven't even met - but believe me, after nearly 16 - oh yes - hours, you'll be wanting me to bear your children for having offered you this advice. Or something. It may not change your life as it did mine - this was my first experience of what would become my cinematic obsession, the melodrama - but I wouldn't bet on it.

Don't be put off by its length - it was made for TV and so can be watched as such, an episode a week. After a couple of programmes, though, I guaranteee that will not be enough. And yet it's one of those films you never EVER want to end. If that's not enough, the sequel is even better.

So what is HEIMAT? Nothing less than the story of 20th century German history, told through the experiences of a small village, and one family in particular. But this is not a weighty history lesson. Every major event takes place off-screen - we experience their repercussions on a people remote from them in terms of time and space. The saga is a satisfying feast on the level of a novel-sequence by Powell or Proust - a varied dramatis personae, precise detail, anecdote, incident, communities, generation struggles, local and national crises, social comedy (I hadn't remembered how funny it was), domestic and national tragedy; each episode is packed with these, building up accumalitively a quiet, yet inexorable, power.

'Heimat' means both 'home' and 'homeland', and was also a type of film encouraged by the Nazis, espousing reactionary (no!) sentiments tinged with bucolic utopia. Therefore, although we will be introduced to hundreds of disparate characters, it is appropriate that the main character, and the first image of such a massive document, is the land. Outside of the Archers and King Vidor, you will not see a greater cinematic sympathy with nature, such a feeling for its texture and spirit, such a recognition of it as a marker of human history, as an inhuman constant in a world heading for nihilism, as a quiet, immemorial force thast looks on at, and yet is indifferenct to, a human comedy that becomes steadily unfunny.

The first episode is, in its quiet way, a manifesto of how the film intends to proceed. For all its smooth technical surface, this is a film seething with disjunction, comprised of layers and levels that refuse to cohere in the village's dream of community, continuity and order. As in all great melodramas, this confusion is an apt formal representation of its main character's state of mind.

This protagonist is Paul Simon, who begins the episode walking back from a French prisoner-of-war camp and ends it leaving his wife, child, family, community, past, tradition. He returns from the war into an unchanging quiet village world which could have existed at any time over the last few centuries. Indeed, it's almost as if he is some sort of Prince from fairy tale, returned to awake the enchanted sleeping inhabitants, because life suddenly flourishes in its own way.

The community's rhythm is one of slow circularity - his first sight of his father is of him forging a wheel; the circularity of his plot. And yet all has changed. Most of the men have died in the war - all that are left are invalids, idiots, strange young boys and crusty old codgers.

This is a film so rich, despite its narrative concerns, in detail, image and symbol, that I won't succumb to interpretive hubris. But that initial impression of disjunction lingers. Paul's first action is to urinate; we cut to a shot of a barren, pest-ridden fly-paper, a disgusting image of the entrapment and sterility on offer here. The fly plays a very important symbolic role in this episode, as do all kinds of images of flight - kites, planes.

Paul operates on a different level from his mundane family and neighbours - his world is that of dreams, hope, visions, ideas, fantasy. His pursuit of science and invention - progress - contrasts with the circular harvesting of the men. I used to wonder why the film would alternate between colour and monochrome. I don't think there's a systematic explanation for it - not only does the colour change, but the film stock itself does too - this surface instability in a seemingly gliding technique perfectly mirrors the torment in the mind of a superficially placid man, and makes his seemingly capricious departure more explicable.

The main disjunction in HEIMAT, of course, is that between the characters in the film and us, the viewers. We know what is going to hapen in the future, and this heavily colours a seemingly frivolous portrait of rural life. A huge pig chases away geese, a naked woman - 'probably a Jewess' mutters a witness - is found dead in the forest; a marten breaks into the shed and kills the hens: none of these incidents are remarkable on a narrative level, but create a terrifying sense of foreboding of the horrors we know are to come. There is a little Hitler lord mayor; a hugely comic unveiling ceremony in which the risible words of a puffed-up local dignitary are eerily similar to those that will be used with deadly seriousness by the Nazis; the almost pranklike attack on Jewish political dissidents; the harrassment and ostricising of an amazingly hardworking woman, ostensibly because she slept with an enemy officer, but really because she looks like a gypsy - all these serve to darken a seeming idyll, show that the seeds of Nazism were already truly in place; and you have to try very hard not to slip into disgust, and play 'spot who'll become a Nazi'.

The biggest disturbance of all comes in the plot of the lead character. The first two hours of this film are told largely through the point of view of Paul - both narratively and formally. And yet he ups and leaves, and there are still 14 hours to go. Itr gradually becomes apparent that it is his wife, Maria, who will become the saga's pivotal figure. Now the film becomes a different kind of melodrama, but this was announced from the beginning. While all the men were out japing like kids, the women were trapped behind windows, doing all the hard work, denied the privilege of escape offered Paul.

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Message Boards

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Details about the Grand Prix race in episode 4 Reichshöhenstraße (1938) henrik_linde
Paul...actors. Hungerhill
Would this be suitable for a 9 year old to watch? jon-841-767685
New photos of HEIMAT film locations online! Musikdrama
Black and White phatfish
Pauline's husband Robert (episode 10 spoilers) tcassette1
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IMDb West Germany section

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