The Bitter Tears of Petra von Kant 1972 123movies

Watch: Die bitteren Tränen der Petra von Kant 1972 123movies, Full Movie Online – Petra von Kant is a successful fashion designer — arrogant, caustic, and self-satisfied. Some time ago, she divorced the husband she no longer loved. Until recently, she has been in a fairly satisfactory S and M relationship with Marlene (her secretary, maid, and co-designer). She mistreats her. Enter Karin, a 23-year-old beauty who wants to be a model. She falls in love with Karin and invites her to move in. The rest of the film deals with the emotions of this affair and its aftermath. Fassbinder tells his story in a series of 5 or 6 long scenes with extended uses of a single camera shot and deep focus..
Plot: Petra von Kant is a successful fashion designer — arrogant, caustic, and self-satisfied. She mistreats Marlene (her secretary, maid, and co-designer). Enter Karin, a 23-year-old beauty who wants to be a model. Petra falls in love with Karin and invites her to move in.
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Ratings:

	7.6/10 Votes: 9,983
	88% | RottenTomatoes
	73/100 | MetaCritic
	N/A Votes: 160 Popularity: 12.747 | TMDB

Reviews:

Key Film From The German Master
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.

Follow the penis
For those of you who have seen this movie and were bored to death, I can only say: You have not seen enough Fassbinder! This is one more tale of lost love but Petra could never attain true love because she is a dictator looking for victims to dominant. But, as in many a Fassbinder film, the tide turns against her when she meets Karin. Petra heartily gobbles up Karin’s tale of lower-class woe and is soon a pathetic mess. This is an extremely well crafted film and each shot is thoroughly composed. Pay close attention to the positioning of Marlene, to the mannequins and, of course, the penis (symbolizing the male-dominated world of which all woman are victims). The penis even gets the spotlight over Hannah Schygulla at one point. In the Fassbinder world, we are all victims, all someone’s prey, because we need love and will jump headlong into the abyss to attain it. We will humiliate and degrade ourselves. Petra becomes more and more like a mannequin as the movie unfolds symbolizing her degradation and emotional turmoil. I gave this movie a 10 because, while not Fassbinder’s best, it still beats most of what Hollywood has put out in the last 30 years and many of the movies that have wound up in IMDb’s top 250. Lastly, for the uninitiated and the unbelievers, Fassbinder challenges the viewer constantly to look closer and dig deeper into human relationships and whether real, true, lasting love is even attainable. He pushed the limits of what a movie is and what it can achieve, failing several times along the way. The result is some of the most thought-provoking, intense movies ever made.

Other Information:

Original Language de
Runtime 2 hr 4 min (124 min)
Budget 0
Revenue 0
Status Released
Rated Not Rated
Genre Drama, Romance
Director Rainer Werner Fassbinder
Writer Rainer Werner Fassbinder
Actors Margit Carstensen, Hanna Schygulla, Katrin Schaake
Country West Germany
Awards 3 wins & 3 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono
Aspect Ratio 1.37 : 1
Camera N/A
Laboratory N/A
Film Length 3,389 m
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format DCP Digital Cinema Package (restored version), 35 mm