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.

This is a typical Fassbinder movie: very strong psychological characterisation of the main characters, lot of talking, nearly no action. All the scenes of the film are located in the bedroom of Petra von Kant, a rich fashion designer. In that bedroom people are discussing life, love, ambition, frustration, despair and so on. So, a lot of talking although one of the most important characters does not say one word. It takes some effort of the spectator to follow the film but it is quite an interesting film. You should be glad if you see one such a film a month.

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.

The archetypal mid-period Fassbinder film of the kind so lovingly pastiched/parodied in Francois Ozon's 'Water Falling on Burning Rocks'. Like much of his early work, the film is based on his own play, which 'limitation' Fassbinder compounds by refusing to open it out - imprisonment and immobility being central Fassbinder themes, as well as providing the metaphors that theatre provokes - role-playing, dual/multiple identities, staging.

The film is like a prison drama - its four acts never leave Petra's preposterously ornate bedroom, filled with dolls, mannequins (she is a fashion designer), and the kind of obtrusive decor that allows Fassbinder to compose intricate multiple-frame tableaux - and neither does Petra. In the 'real' world of the film, she is a jet-setter, attending celebrity shows, photo-shoots, but in the film world, she is paralysed, stuck not only in this bedroom, but in a circumscribed series of poses and movements, not to mention stock phrases and attitudes.

if she makes any progress at all, it is a negative one, as she declines from empty rhetoric about freedom to a horrified admission of her own self-entrapment, appropriately visualised in the bars of her bed-frame, and the mirror that reflects her back on herself, consumes her, like Narcissus, sucked into her own self-love, her gestures at role-play doomed attempts at consolidating her own egotistical power.

What's worse, other characters seem as imprisoned as her, but they can come and go, even if they are doomed to return, condemned to the same relations with Petra, even if power-relations shift. Only one character seems to break free - Karin - and that is by using, humiliating and ditching Petra. Like 'All about my mother', 'Bitter Tears' is a loose remake of 'All About Eve' - Petra is even paying alimony to a certain 'Joseph Mankiewicz'. Karin is the rising star who submits herself to an elder mentor for as long as it suits before dumping her when she has taken what she needs. Of course, Fassbinder elides any Hollywood melodrama inherent in such a set-up: each 'act' involves a large time gap, so that Karin's turning nasty seems disturbingly abrupt.

Stylistically, the film's closed world is matched by the restricted camera movements and murky colours. Fassbinder constantly distances us from the melodrama, by compositions at once comic and mocking - the tears of two women being framed by mannequins etc. In one brilliant scene, Petra talks to Sidonie while looking into her hand mirror so that she appears to be talking to herself, both Sidonie and her 'reflection' interrogating her.

The women's bodies are undermined not only by unflattering framing, but by the fetishistic, limbless plastic figures surrounding them. Most incongruous of all is the large wall size painting that forms a background to the film, a large classical subject with abandoned child, prone woman and upright man, continually ironising, mocking, undermining the narrative, even provoking it, as characters pose in a similar fashion. There is one crucial difference - the man - the crucial absence from this male-mediated female psychodrama.

Well, one of two. Another is the speech of Petra's long-suffering servant Marlene, who may, or may not, be the real creative force behind Petra's success, who exists in a Beckett-like relationship with her mistress as the latter, like Hamm in 'Endgame', winds down towards inertia. Like the audience, she is mute, and observing. She is also the one sympathetic character, her isolation and anguish eloquently expressed in some very moving composions as she stands behind screens, unable to say no.