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.
Although the movie is centered on Petra, we often see the story through Marlene’s eyes. Marlene wears an emotional heaviness as Petra’s friend Sidonie visits – she is devastated when the younger Karin moves in. Karin, an aspiring model, becomes Petra’s obsession.
The dynamic between Petra and Karin is fascinating. Both their backgrounds and intents are established in the span of a long conversation. Karin chronicles a tragic childhood, including her father beating her mother to death. She somberly lifts her veil to Petra: “People like me until they hear my story.”
Petra reveals an empathy that underlies her lust towards Karin: “No, I feel a greater affection for you. We have to do something for you. Let’s be friends. A bottle of sparkling wine!” Petra pledges to make Karin a top model. She’s becoming afflicted with the younger Karin and asks her to move in.
Fassbinder creates a confining environment to film the exchange. They sit on the tiny bed – Petra positioned behind Karin. As Karin tells her story, her head is shifted to the side of Petra – they eventually switch positions. The camera moves behind rafters, further constricting the two women. Hermann’s Marlene is tucked in the room’s corner, furiously typing.
The contrasts in appearance are striking. Petra is in her mid-thirties but appears much older. She has a smoky, avant-garde look that belies her wrinkled eyes and emaciated frame. She wears a variety of boisterous wigs. Her ruffled dress chokes her ankles – she can barely move. It’s possible the dress is her own design. Karin is adorned with Roman flair – she wears tight gold bands around her neck and arms.
In a sense, Karin is an offering to the conquering Petra. However, as the movie unfolds, it appears that Karin outmaneuvers Petra. Some time elapses and the dynamic has completely shifted. Petra is completely obsessed with Karin, who offers little emotional response. She is dismissive and barely moves off the bed, which triggers Petra.
Petra is desperate for a response – she digs at Karin’s weight. We now see the evolution of Karin’s character and a tremendous performance by Hanna Schygulla. She inhabits the cruelty of youth and taunts Petra detailing her one-night stand with a man. Petra is overcome with grief – she implores Karin to lie with her. Schygulla coldly complies: “I was walking alone all night thinking about us.”
The relationship is cratering. Petra tries to attack – she calls Karin “a rotten little whore.” Karin asks for money – Petra responds: “You should have worked the streets from the beginning.” Schygulla’s Karin again reveals her viciousness: “It was less strenuous with you.” Petra relents only for a moment – she drops to her knees before spitting in Karin’s face.
Time again elapses as Karin has left Petra and become a top model for another designer. Carstensen is amazing as Petra sits in a grief-stricken, drunken stupor – she channels all the character’s fury, grief and failure. Petra’s family gathers for her birthday – she lashes out at them all, calling her mother a miserable whore before smashing a glass against the wall. “You all make me sick. If you only knew how filthy you all are!”
There’s a subtle phone call from Karin. Petra has sobered up and quietly comes to a reckoning – she is not in love with Karin: “I just wanted to possess her.” Petra declares “she’s made peace with the world.” In the movie’s final scene, she appears in her natural hair and apologizes to the silent Marlene – subsequently “releasing” her from her service.
The simplicity of the movie’s setting allows Fassbinder to reveal profound depth about his characters. When Petra and Karin are together, the room is congested. Karin comments: “We can’t play with each other 24 hours a day.” After Karin has left, the room appears expansive – echoing the loneliness and desperation that consumes Petra.
Fassbinder rotates his camera around the room, patiently studying the atmosphere. The camera pans to bare mannequins – perhaps they are symbols of the characters’ emotional vacancy. There are often deep focus shots revealing emotions beyond the dominant subject. Hermann’s Marlene lingers in the background – a satellite constantly in orbit of Petra.
The BEST – Marlene
Hermann conveys an exceptional amount of emotion with minute movements. When Karin visits, Marlene pauses before letting her in the apartment. On the surface, it’s a trivial moment – but her hesitation speaks volumes regarding the mystery of her relationship with Petra.
Throughout the movie, Marlene’s expressions create a subtext. When Karin first enters, Marlene is apprehensive. As the relationship dissolves, she is concerned. As the movie ends, there’s an emboldened sense that may suggest freedom.
The BEST Part 2 – Marlene’s Bag
The contents of Marlene’s bag are intriguing, including a possible spoiler.
The WORST – Fassbinder’s Idea of Love
Fassbinder’s movies frequently portray the futility of love and this movie is not an exception. However, it’s possible that Fassbinder frames the relationships here as a sadomasochistic game – a competition of sorts where cruelty and domination serve as rewards. It makes for an intriguing narrative but ultimately leaves behind an emotional void.
The WORST Part 2 – So About Petra and Marlene…
If you read into Fassbinder’s thoughts about the movie, Petra and Marlene were engaged in such a relationship. This clearly changes their dynamic but also adds questions regarding Karin’s role. In this sense, it’s not entirely apparent who truly suffers in this triangle.
FOX FORCE FIVE RATING – 4.5/5
The Bitter Tears of Petra von Kant is defined by its wonderful simplicity. There’s only one setting and a few actors – but the results are tremendous. Fassbinder allows his characters to patiently develop and reveal the emotional insecurity attached to relationships. This extraordinary movie is a must watch.
