Die Ehe der Maria Braun (1979)

A World War II widow seeks to adjust to life in postwar Germany.

From memory: Excellently produced  movie mirrors post-war Germany and its immorality in the fate of a singular woman; good to look at on the screen and a great vehicle to showcase Hanna Schygulla's talent.

Halliwell*: "A mixture of solemnity and irony which keeps its basic points well concealed but, despite a sometimes flagging pace, more or less consistently entertains the eye."

Maltin***1/2: "Schygulla shines in the Joan Crawfordesque role...Riveting..."

Die dritte Generation (1979)

A mogul merrily funds terrorists to boost his computer sales, by panicking West German government and industry c. 1980, as the third generation of Western European left-wing activists forms, after crippling of the violent Red Army Faction.

From memory memory: Stylish and dark satire clearly has the director's signature, but the attempt to ridicule both the RAF terrorists as spoilt brats and its victims as manipulative profiteers annihilates any political sting.

Halliwell (no star): "Realistic melodrama, curiously muted in its satire and its anger, watchable more as an entertainment than as a polemic."

Maltin***1/2: "Pitch-black comedy...Superb ensemble cast in one of Fassbinder's best films."

Lola (1981)

In post-war West Germany, the charming Von Bohm is appointed a city's new Building Commissioner, but his morality is tested when he unknowingly falls in love with a brothel worker, Lola, the paid mistress of a corrupt property developer.

From memory: Excellently produced, unusually stylized, but not quite original tale with a cast of Germany's foremost actors is at best when recreating the post-war atmosphere.

Halliwell*: "Blue Angel country is the setting for this over-predictable fable from a director whose films always have interest."

Maltin***1/2: "Brilliantly directed and edited chronicle...Striking, unusual use of lighting and color."

 

Lili Marleen (1981)

In Switzerland, German singer Willie falls in love with Jewish composer, Robert, who offers resistance to the Nazis by helping refugees.

From memory: Fassbinder's attempt to make a big movie production is meticulously produced, but the result is a dubious combination of old-fashioned melodrama with the director's usual idiosyncrasies.

Halliwell*: "Curious mixture of melodrama and satire which doesn't really work but is always lively to watch."

Maltin**1/2: ""Second-rate Fassbinder about third-rate cabaret singer...Intriguing subject matter is pretentiously handled.