Tag: Rainer werner fassbinder

The Bitter Tears of Petra von Kant

The Bitter Tears of Petra von Kant is a 1972 movie directed by Rainier Werner Fassbinder.

The Bitter Tears of Petra von Kant tells the story of a successful fashion designer who falls in love with a younger model. The relationship deteriorates and Petra finds her life unraveling.

Fassbinder’s brilliance lies in simplicity and execution. He precisely crafts a concise, but emotionally dense story that occurs in one space and features only five characters. The movie contains only a handful of dialogue-heavy scenes yet reveals the futility and darkness of love – a theme common in Fassbinder’s movies.

The acting is phenomenal. Margit Carstensen inhabits Petra, a sophisticated, successful woman who maintains a fetishistic command over her craft and life. She is equally domineering and vulnerable – a fascinating character study that Carstensen amplifies in both mournful and brutally vicious tones.

Petra lives with her assistant and fellow designer Marlene, played by Irm Hermann. Hermann is somber and silent – lingering like a timid shadow throughout the movie. She is submissive to Petra’s demands and absorbs increasing verbal abuse. Their relationship is indicative of sadomasochism, although it is never explicitly discussed.

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Ali: Fear Eats the Soul

Ali: Fear Eats the Soul is a 1974 movie written and directed by Rainer Werner Fassbinder.

Ali: Fear Eats the Soul tells the story of Emmi, a widowed house cleaner and Ali, a Morrocan immigrant mechanic, who meet and fall in love. Both characters are essentially isolated, lonely people who form an unusual bond. They find comfort in each other, but quickly realize that their family, friends and neighbors are hostile towards their intentions. These external pressures begin to crater the relationship.

The legend of Fassbinder is that he lived a fast life, died young and created an unparalleled body of work. The volume of movies he directed – some 40 over the span of 15 years – is astonishing. In Ali: Fear Eats the Soul, it’s easy to grasp how he accomplished such a feat. This a precise, effective story about loneliness and perception. The scenes are simple, but contain a density of emotion: the settings are sparse and dialogue purposeful, which effectively illustrates his characters’ anxiety.

There’s little wasted motion as Fassbinder introduces his leads and propels them into a meaningful union. Emmi enters a bar to get out of the rain – she’s aged and carries a worn appearance. Ali is presented as a hulking, stoic figure – he’s drinking with his “Arab buddies”, something he does every night. The clash of backgrounds creates a striking mood of suspicion, something Fassbinder expertly frames with his long, meditative shots.

Ali asks Emmi to dance with her, then offers to walk her home. The scene in her apartment lobby is fascinating. She is both afraid of Ali and endlessly intrigued by him. She comments on his clothes, suggesting that “dark clothes look sad.” Her own sadness is apparent – “it’s good to talk to somebody. I’m so lonely. All the time, really.” He is invited up for brandy and later spends the night. Ali’s own anxiety – a central theme of the movie – is apparent as he cannot sleep and comes to Emmi’s bedroom.

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