Film Bitch History
Oscar History

The Film Experience™ was created by Nathaniel R. Gemini, Cinephile, Actressexual. All material herein is written and copyrighted by Nathaniel or a member of our team as noted.

Powered by Squarespace
Comment Fun

Weekend Box Office. What did you see?

"I enjoyed The Hustle... Always nice to see Anne Hathaway in comedies...wondering if Meryl coached her on all those accents!" - me

"My friend and I watched Under the Silver Lake last week and to this day, I still don’t know what it is about. 😔Same friend insisted that we watch Wine Country on Netflix and somehow only the white wine joke made me laugh." - goodbar


Keep TFE Strong

We're looking for 500... no 461 Patron SaintsIf you read us daily, please be one.  Your suscription dimes make an enormous difference. Consider...

I ♥ The Film Experience



Ritesh Batra on Photograph


Wanuri Kahiu (Rafiki)
Jia Zhang-ke (Ash is Purest White)
Christian Petzoldt (Transit)
Richard E Grant (Can You Ever Forgive Me?)
Rachel Weisz (The Favourite)
Toni Collette (Hereditary)
Glenn Close (The Wife)

What'cha Looking For?
« Judy by the Numbers: "Be A Clown" | Main | Linkspray »

Best Shot(s): The Bitter Tears of Petra Von Kant (1972)

Hit Me With Your Best Shot
Season 7 Episode 16

The Bitter Tears of Petra Von Kant
Written and Directed by Rainer Werner Fassbinder
Cinematography by Michael Ballhaus 

When you watch a lot of movies you inadvertently end up drawing comparisons between films that you wouldn't have thought to put in conversation previously. It's as if you've accidentally become a guest programmer of a repertory theater or a local festival. Such was the case this week when I (not intentionally) watched Whos Afraid of Virginia Woolf (1966) and The Bitter Tears of Petra Von Kant (1972) nearly back to back and shook my fists to the heavens and cursed the name of anyone who ever regurgitated the lie that you have to "open up" stage plays to make them work on screen. 

Tears. not totally bitter yet but she's getting there.

Sometimes half the power of a text is in its site-specific constriction. So I went from George & Martha's messy drab campus housing with a bar (or at least its contents) in every room, to the stylish studio apartment of fashion designer Petra Von Kant which was paradoxically both over-decorated and minimalist, and both frozen in place and ever-shifting without explanation (Wasn't the bed over there in the last scene? Can these mannequins move around the room at will like the toys in Pixar movies?). I loved every second of both films and especially, perhaps paradoxically for someone who prefers short movies, the foreboding sense that there was no way to exit either film, ever, unless you accepted your fate and drowned in their contagious neuroses.

All it takes to make a play cinematic when it becomes a movie is great filmmakers. That's it. That's the whole formula...

Nothing else! Give the right auteur a camera, a fine script and a few gifted collaborators (I chose this movie partially to honor Michael Ballhaus, one of my favorite cinematographers - he also shot The Fabulous Baker Boys) and they can whip up a classic movie on a single set with just a few actors. 

The Bitter Tears of Petra Von Kant, by the genius Rainer Werner Fassbinder (thank god he was so prolific since he died at 37) takes place entirely in the flat of the titular woman played by Margit Carstensen (Best Actress winner in Germany for this role). Petra's a jaded successful fashion designer divorcée who prefers the company of women. (No men appear in the picture but for the nude ones in the Rubens mural on the wall and Fassbinder himself in a newspaper photo) She spends most of her time with an indifferent lover Karin (Hanna Schygulla) and her silent "servant" Marlene (Fassbinder regular Irm Hermann in the film's most opaque but entirely fascinating role). Other friends and relatives stop by for a drink and multiple servings of gossip. That's the entire film, Petra's volatile friendships, her love affairs, and her martyrdom (she's financing the lives of most of these women). 

I'd have to spill a thousand words if I wanted to do justice to the film's extraordinary facility with its single set filled with mannequins and dolls and the way the women sometime stand so still that you can mistake them for either. And another thousand if I wanted to pay homage to Petra's costumes since she looks like a different woman in every scene as if she's no more permanent than a single runway look.

Everyone is replaceable. Everyone. That's something they have to learn.

In one of the film's most visually lush scenes, Petra invites Karin over and attempts to seduce her over a long evening of conversation. She plays one of her favorite songs (best shot above) and while talking about her first deceased husband she even tells Karin that "everyone is replaceable". In a pinch, the camera and set design suggest, even a mannequin will do. The thrill of suspecting that Karin would walk into this very frame, replacing our view of the mannequin, was half the sensation of this particular shot. And Karin complies.

But Petra's words are not always beliefs. She is already so smitten with Karin that it's clear this coldness, too, is performance and presentation, a lie she tells herself, so she can go on living and loving again.

Click on the photos for the articles 

The images never feel stylish for their own sake, but always serve as the visual expression of the psychological gamesmanship between the characters.
-Antagony & Ecstasy 

Camera movement or shot duration can be as revealing as the composition of the frame, and despite evidence to the contrary, the internet can only contain so many gifs... 
-Film Mix Tape

But I keep coming back to two things about Bitter Tears: Marlene and the mannequins.
-Dancin Dan on Film 

This gin-soaked climax contains my pick for Best Shot, emphasizing Fassbinder's strong skill in staging characters within a frame...
-Film Actually  

There’s a story here that we’re not getting, and that makes this moment all the more fascinating.
-Allion Tooey 

Alfred Hitchcock's TO CATCH A THIEF with Cary Grant & Grace Kelly (streaming at Netflix) 

PrintView Printer Friendly Version

EmailEmail Article to Friend

Reader Comments (5)

A little late, but my response is here:

I can't believe no one else has picked this shot yet!

Also, it's probably not worth it at this point, but I did several prior entries to Hit Me With Your Best Shot that didn't get posted in the round-ups. I've posted links to them, but if you don't have the time/energy/patience to edit the posts, that's fine.


The Beguiled:

Throne of Blood:

Death Becomes Her:

Looking forward to the rest of the Challenge!

June 22, 2016 | Unregistered CommenterAllison Tooey

I just have to say that every single image in this article was one that I capped as a potential Best Shot. What a wealth of great options! Can't wait to read all of these.

June 22, 2016 | Unregistered Commenterdenny

Allison - I almost picked that one too

Even though I didn't love the film, it's hard to argue with any shot choice for this film considering how accessible it is for discussion at almost every entry point.

June 22, 2016 | Registered CommenterChris Feil

For a bunch of reasons not too important to disclose, I didn't write up my entry for this. But I'm going to watch the movie tomorrow and do a post because I can't NOT do that. And then I will come back and read everyone's entries.

June 23, 2016 | Unregistered CommenterRyan T.

I'll try posting here and on a more recent article, and hopefully you'll see this!

June 28, 2016 | Unregistered Commenteri/fwp

PostPost a New Comment

Enter your information below to add a new comment.

My response is on my own website »
Author Email (optional):
Author URL (optional):
Some HTML allowed: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <code> <em> <i> <strike> <strong>