Les larmes amères de Petra von Kant

The one-apartment setting for this film creates a very appropriate sense of claustrophobia and confinement. Fassbinder and actress Margin Carstensen masterfully detail the progression of Petra's deterioration. The schematic framework of this film is not apparent at first; nothing initially indicates Petra's vulnerability and neuroses which makes her ultimate psychic annihilation more poignant. Fassbinder's view of human relationships was egocentric and borders on the cynical---however his work resonates because the approach is so unsentimental and Carstensen is unafraid to make the character unsympathetic, even pathetic as she pines for the return of an absent lover (Schygulla) in the devastating latter half of the film.

The production design and cinematography (by the great Michael Ballhaus-"Bram Stoker's Dracula") are magnificent in that instead of creating great vistas or otherworldly visions, they remain firmly entrenched in a context of confinement and claustrophobia. The artifice (note the outlandish outfits!!!) and overhyped hothouse atmosphere of the film contribute to a feeling of imprisonment; Petra is trapped by her loneliness and neuroses. There's no freedom, no exits, no light, no room to breathe.

The final shot, overlaid with the rock song "The Great Pretender" on the soundtrack, haunts.

A difficult, challenging, at times tedious work, with characters who are human in some very unpleasant ways. Not for an action-movie crowd or people who dig Spielbergian easy answers. "Die Bitteren Tränen der Petra von Kant" deserves applause for walking so unflinchingly on the dark and lonely side of the street.

Claustrophobic, talky and highly inventive – The Bitter Tears of Petra Von Kant is a key film in the development of R.W. Fassbinder's art. According to longtime colleague Ulli Lommel, Fassbinder wrote the entire work (which also became a play and, posthumously, a modernist opera) during an 11 hour plane journey from Germany to LA. Excited by this flush of creativity, Fassbinder ordered his entourage to head straight back home and shot the entire film in a extraordinary 10 days.

Set wholly within one room in the home of successful fashion designer Petra Von Kant, the film deals with the destructive love affair Petra (Margit Carstensen) begins with aspiring model Karin (Hanna Schygulla). As one of Fassbinder's early forays into the reexamination of 1950's Hollywood melodrama, the film has the tendency to polarise audiences with it's highly stylised and almost stagy approach. Even the lack of incidental music may jar with those not familiar with the director's work. Rather than using a swelling score giving cues to the emotions the audience is meant to feel, Fassbinder opts instead for selective natural sound (a typewriter endlessly clacking away in the background during an important scene, for instance) and records from Von Kant's (i.e. Fassbinder's) record collection. Without this trapping, we watch Petra's self-destruction with a certain ambiguity and a more considered response is elicited from the viewer. More space is also given to the magnificent dialogue and inventive camera-work (shot in long, winding takes) which allows the fine ensemble cast to to plunder the depths of emotional despair, all the while dressed in Von Kant's wonderfully outrageous designs.

This is all the more fascinating when read as a thinly veiled confession of Fassbinder's domineering ways with those in his inner circle. As also pointed out by Lommel, the film's exclusively female characters were actually all based on men. Fassbinder, however, mostly preferred to work with women as he felt they were freer to express extreme states of emotional truth and more open to the requirements of high melodrama. As a primer for the great director's work, The Bitter Tears of Petra Von Kant is an excellent example of Fassbinder's over-riding theme: how the hunter can quickly become the victim and that the universality of desire and need within all human relationships is a constant, regardless of status, sexuality or age.

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.

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The most ironic aspect of this film is that although directed by a gay director and depicting a woman tormented by frustrated Sapphic passion is that it is actually based on a heterosexual relationship, sort of.

Fassbinder was in fact bisexual and treated the women in his life extremely differently, notably two actresses who both feature in the film: Eva Mattes, to whom he was invariably a model of quiet consideration, and Irm Hermann, who he treated cruelly, invariably giving her the worst parts in his films, perfectly demonstrated by the wordless role of Margit Carstenson's maid who spends the whole proceedings silently looking on with the air of one who has seen it all before.

This film is an elegantly constructed classical tragedy that explores the erotics of cruelty and the manipulation of sexual power. Deeply perverse, its portrayal of the complexity of sexual desire is an inversion of all Hollywood romantic tropes, which are thus exposed as comparatively frivolous and dishonest. It is a lesbian love story set in the fashion industry. Though some may find it slow paced, the rest of us will appreciate the meticulously choreography, the stunning cinematography, and the precision with which the actresses mimic the mimicking of womanhood.

While "The Bitter Tears" is heart-wrenching, devastating tragedy, a greater intellectual high is hard to find in movies or elsewhere. Among the very best films of Fassbinder's career, this movie demonstrates (yet again) that Fassbinder is one of the truly great artists of our time.