Maria's Lovers

I haven't seen this since it came out but I still talk about it when discussing the nature of love. It deals well with an issue I believe many people can relate to: the fine line between love and hate. The whole point [I believe] of the movie is to illustrate how John Savage's inability to make love to his wife is because he loves her too purely and only once that innocent worship has been tarnished can he consummate his marriage and love his wife completely.

If you've ever wondered why your best sexual memories are of people you didn't love then this movie is for you.

Saw this film long ago and thought it was beautiful and moving. It was imperative to understanding this film to know that during the time the husband was imprisoned, Maria's picture had become a religious icon for him. SHe had become a saint in his mind, and therefore the problems resulting with him unable to treat Maria as a real woman after his return from the war. It is important to know that Orthodox religions pray through the Saints. Her picture was the only thing he had to keep sane during his prisoner of war years, so it was of immense importance. THe short black and white war scene at the beginning of the film had to be considered very carefully before one could understand the horrors this man had endured. It is important to realise, especially today, that men come back from war changed, although we stay the same.

"Maria's Lovers" is, first of all, a beautiful-looking film. Juan Ruiz Anchía does a fantastic job photographing the film, making wonderful use of light. Scene after scene is brilliantly framed and shot, at times feeling like a series of photographs. Anchía and director Andrei Konchalovsky make a great team. But this is essential to make a film such as this watchable, because the general attitude of virtually every character is endlessly frustrating. Most are motivated by sex, some by fear, some by greed, some by possessiveness, some by misguided innocence.

There are no particular flaws in any of the performances. Kinski, Savage, Mitchum and Carradine create characters of real depth. There are times when "Maria's Lovers" has the overpowering sense of being made in the mold of the great classic tragedies. Which is to say, everyone is more miserable more often than is entirely likely in real life. But I could be wrong, and perhaps there are lives which very closely parallel those shown here. Either way, it is a supremely difficult, painful, intense, and ultimately believable picture. To the right audience, it could very nearly be considered perfect. It's a clean, true, human depiction.

The film centers on Ivan (John Savage), a WWII P.O.W. who returns to his small hometown after the war. He survived in the P.O.W. camp by imagining a marriage and life with Maria (Nastassia Kinski), the prettiest girl he knew growing up. When he gets home, he woos and marries her, but cannot consummate the marriage. This naturally leads to dysfunction, frustration, and infidelity. Also starring Keith Carradine as a fast-talking, wandering balladeer, Robert Mitchum (with a beard) as Savage's father, Vincent Spano, Bud Cort, John Goodman, Bill Smitrovich, and Tracy Nelson.

The script is all over the place, with some scenes achieving some frank honesty and emotional truth, while others seem wildly florid and almost campily over-the-top. Savage's natural tendencies to be a bit histrionic in his performances works okay here, since his character is supposed to be a bit unbalanced and dealing with PTSD. Kinski delivers her most mature performance to date, but she's still a bit rough around the edges, and some lines come out clunky.

Carradine steals the movie, though, with an oily turn as a seedy Lothario. Mitchum just has to be gruff and drunk, which was never a problem for him. Anyone with prudish sensibilities should be forewarned that there's a lot of heavy breathing here, as well.

Set in the immediate post World War II in the small rural picturesque American town of Brownsville, Pennsylvania among Yugoslavian immigrants, `Maria's Lovers' follows a young soldier with the name of Ivan Bibec, played by John Savage, who has been discharged from the Army, into his home town. The film seems to unfold slowly upon first viewing, but that is misleading because it has been very tightly edited and one can only pick up some of the nuances of the film by watching it a second and/or a third time. Nastassja Kinski is Maria Bosic and is the central character in the film. The supporting cast is first rate with Anita Morris, Robert Mitchum and Keith Carradine. The film has a European feel to it because of the direction of Andrei Konchalovsky, meaning that it is sparse and compact, yet exquisitely framed. Early on, Ivan marries his sweetheart, Maria, and the rest of the film deals with love and infidelity and how it impacts the two main characters and their marriage.

1984 found Nastassja Kinski in four film releases: `Unfaithfully Yours' a nice light comedy, `The Hotel New Hampshire' (a Nastassja disaster in which she initially appears in a bear costume and is so happy to escape it that she does one cartwheel at the end of the film), the Wim Wenders' legendary `Paris, Texas' in which she appears in the last part of the film, and then there was `Maria's Lovers' in which she was the featured and marquee performer. In `Maria's Lovers,' Nastassja has to carry the film in a very difficult role that would stretch any actress's abilities and skills. Of the forty plus Nastassja movies that I have seen, this is probably her best role and performance. Nastassja's Maria is textured and rich with innocence, shyness, passion, vulnerability, and character strength. If anything, Nastassja Kinski is chameleon like because she so easily blends into the film and yet her character is quite distinctive with depth, dealing with the irrationalities of love, intimacy, and infidelity. In a sense, `Maria's Lovers' is an end point for Nastassja because she was finally able to integrate everything into one performance. There is little question that Nastassja Kinski is foremost a dramatic actress of unparalleled skills that can be subtle or dynamic or anything in between when on the screen. Coupled with her singular striking beauty and expressive eyes, she is a package that very few actresses can ever hope to equal. Nastassja intuitively knows how to move on screen, have the proper inflections in her voice, use her face and eyes as an ever changing canvas, project intelligence and sensuality, and be charismatic with great screen presence. This was nothing less than a superb performance.