Horst in Translation ([email protected]) "Die bitteren Tränen der Petra von Kant" or "The Bitter Tears of Petra von Kant" is a West German film from almost 45 years ago and chronologically it is in the middle of writer and director Rainer Werner Fassbinder's prolific, but short-lived career. The cast is exclusively female. Men are only seen on photos or as naked statues. 3 of the 6 actresses in here were nominated or won German Film Awards for their roles here and these winners include lead actress Margit Carstensen, who plays the title character. Unfortunately, I personally did not find these 125 minutes too convincing. All this awards recognition is a bit of a joke. The actresses seem really lackluster, which is generally a problem with several of the directors' works. Of course, it can be one character's way to speak so boringly, but here everybody does it. And that is not realistic anymore. No passion, no enthusiasm, even in emotional moments. It surprises me to see that this is among Fassbinder's most known works. It is not a disaster by any means, but I felt it dragged on several occasions and the characters simply weren't interesting enough to watch for such a long time. The good thing with Fassbinder is always that he goes for realism instead of forced happy developments and endings, but even from the perspective of this being an early gay-themed film, I cannot see a lot of value.There are some Fassbinder films I like and some I do not like. This one here falls among the latter and I do not recommend checking it out if you plan on getting into the man's work. Instead, a good start may be "Martha", another Fassbinder movie starring Margit Carstensen from a couple years later. This was a great watch. As for this one here, I believe the material is more fitting for a stage adaptation really if they add a bit more focus, cut out the many irrelevant moments and give it a more modern touch. This 1972 version does not do too much for me and that is why I think you should watch something else instead. Thumbs down. The only aspect that convinced me in here was the set decoration, which is almost always good in Fassbinder's films and this one is no exception.

Stanley-Becker This movie is reputedly an autobiographical fictionalization of Fassbinder's own "menage" between himself, his lover, and his secretary. While the homosexuality is retained the gender is transformed to female.Petra von Kant, is, like Fassbinder a product of upper middle class circumstances. She is artistic and ambitious. She is a rising force in the German Fashion "couture" and the movie opens with a bibulous Petra waking up late, and behaving in a superior and demanding manner towards her submissive and obedient secretary/design assistant/maid, the long suffering Marlene. Petra's selfish and narcissistic character is thus immediately established. The viewer is left in no doubt concerning her sybaritic, pampered demanding nature.The next scene features a visit from her friend the Baroness Sidonie, whom she hasn't seen in years. The talk is focused on Petra,s failed marriage and Sidonie's curiosity about the underlying reasons for its failure. Petra claims that her husband resented her success and could not chauvinistically come to terms with her financial dominance. At no time does she refer to sexual orientation and gender preference as factors.Enter the Baroness's young and beautiful friend Karin. Immediately Petra becomes interested and seductively attracted towards her. In classic bourgeois style, she flatters and tempts the impoverished Karin with her wealth and connections {"I'll make you my model"}. Karin, a heterosexual embraces bisexuality and embarks on an affair with Petra.In the background throughout the entire movie Poussin's "Midas and Bacchus" reproduced as a backdrop against an entire wall looms symbolically over the unfolding drama.We are now moved on in time. Petra is now hopelessly infatuated with Karin, who, although she is affectionate towards Petra, her heterosexuality precludes her reciprocating. What Petra desires is a grand passion, which,like a moth being drawn to a flame is then consumed by it. The requited love that Petra insists upon, remains unsatisfied. The situation comes to a head when Karin's husband returns and Karin walks out of her relationship with Petra and rejoins him.We now have the core of this tale as Petra fragments in agonistic convulsion. A fantastic sequence of humiliation and degradation, emotionally convincing, is magnificently pulled off by Margarit Carstensen who plays Petra and also by Fassbinder's tight direction. The scene takes place on a shaggy long piled white carpet,{fashionable in the 70's} a bare room and the backdrop painting. An utterly masterful and absorbing display of emotion at the edge. Phew, what an affective scene, leaving the viewer quite exhausted. After the catharsis of all the "descent into hell", Petra recovers, seemingly cured of the "mad love", and supposedly, through the pain and suffering, she now offers her long suffering slave cum assistant, a new relationship - her freedom from servitude, and from now on a partnership of equality. This political resolution was taken by this particular viewer {that is, myself} with a pinch of salt, as I find it highly optimistic on Fassbinder's part, that Petra would so easily embrace a new personaThere is very little action in this movie but the authenticity is riveting. Sure, it's an Art Movie, stagey, with the dialogue telling most of the story, but it's a great movie nevertheless.

tomgillespie2002 During his 37 years on Earth, the great German director Rainer Werner Fassbinder made a total of 41 films in his 13 year film career. Not counting the countless plays, TV series and acting gigs he did, his output was ferocious, much like his personal life. There have been many things written and spoken about Fassbinder - that he was anti-Semitic, tyrannical, misanthropic and homophobic (even though he was an open homosexual) - yet no-one will deny his raw genius and his place as a driving force in the New German Cinema movement. He made many fantastic films, and I don't think I would be alone is stating that he was at his best when dealing with melodrama, and more specifically, complex female characters.Possibly his best known film, Fear Eats The Soul, is widely considered his best, but I feel that The Bitter Tears Of Petra Von Kant shows Fassbinder at the top of his game. He usually worked with the same troupe of actors (Brigitte Mira, Kurt Raab, Karlheinz Bohm amongst others) and here he has two of his finest - Margit Carstensen as the powerful yet desperate fashion designer Petra Von Kant, and Hanna Schygulla (who played the title character in Fassbinder's other masterpiece The Marriage Of Maria Braun) as her newly appointed love interest, Karin. In my opinion, Carstensen is one of the finest actresses in cinema history, along with Bette Davis and Liv Ullmann, and is never better here. She is dominating and sadistic, yet when she opens up to her cousin Sidonie (Katrin Scaake) or her new lesbian lover Karin, she is tragic, broken and lonely. It is a tour-de-force on display, as her character changes as much as she changes her hairpieces.Petra is residing in her apartment when we first meet her, awoken by fellow designer Marlene (Irm Hermann) who stays with her. We quickly learn that Petra sadistically treats Marlene like a slave, ordering her to bring her things and even orders her to slow-dance at one point. When she is joined by her cousin, Petra reveals how her past relationships with men have ended in disaster and resentment, and that men will ultimately leave her empty and disappointed. She is introduced to Karin, a timid model who Petra visibly becomes interested in, and eventually infatuated by. As Petra and Karin start a seemingly cold and difficult relationship, Petra's jealousy and fear of loneliness comes to the fore as she struggles to hold herself together. In one particularly powerful scene, Petra sits motionless on the edge of the bed after being told by Karin how none-existent her feelings really are, and a single tear rolls slowly down her face. Her face is as white as porcelain and as motionless as a doll, as the realisation hits her that her situation is as fake as the mannequins she decorates with her creations.Adapted from his own play, Fassbinder never moves the action outside Petra's claustrophobic apartment, instead allowing the pent up feelings to explode within the confines of one room. The screenplay, acting, cinematography and music is absolute perfection, and in my opinion this is Fassbinder's crowning achievement. The final scene, which I won't reveal, is in turn hilarious and heartbreaking. If you are as spellbound as I am by the acting talents of Carstensen, then I would recommend both Fear Of Fear and Satan's Brew (both Fassbinder) to see the full range of her ability. Possibly the finest film of the New German Cinema movement.www.the-wrath-of-blog.blogspot.com

MartinHafer Perhaps this film was controversial when it was first released--with its themes of bisexuality/lesbianism. However, in the 21st century it is no longer shocking. Because of this, the film can be examined NOT for its shock value but for its actual content and pacing. And, when seen in that light, the film seems VERY static and dull. I'm talking REAL dull. The characters talk and talk and talk and suffer from so MUCH angst. My idea of interesting is NOT watching a spoiled German woman get drunk and depressed! This movie is definitely for some tastes but not for all. Be forewarned! There are many better German films as well as Fassbinder films--try these first.