Las amargas lágrimas de Petra von Kant
Título original: Die bitteren Tränen der Petra von Kant
PUNTUACIÓN EN IMDb
7,5/10
11 mil
TU PUNTUACIÓN
Reproducir clip1:10
Ver The Bitter Tears Of Petra Von Kant: I Don't Regret It (US)
Una arrogante diseñadora de moda se enamora de una belleza con corazón de hielo que quiere ser modelo.Una arrogante diseñadora de moda se enamora de una belleza con corazón de hielo que quiere ser modelo.Una arrogante diseñadora de moda se enamora de una belleza con corazón de hielo que quiere ser modelo.
- Premios
- 3 premios y 3 nominaciones
Argumento
¿Sabías que...?
- CuriosidadesRainer Werner Fassbinder wrote the entire screenplay for the film by hand during a single 12-hour flight from Berlin to Los Angeles.
- Citas
Petra von Kant: I think people need each other, they're made that way. But they haven't learnt how to live together.
- Créditos adicionalesGewidmet dem, der hier Marlene wurde. (Dedicated to the one who became Marlene here)
- ConexionesFeatured in Fassbinder in Hollywood (2002)
Reseña destacada
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.
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.
útil•547
- shanejamesbordas
- 22 ago 2006
Selecciones populares
Inicia sesión para calificar y añadir a tu lista recomendaciones personalizadas
- How long is The Bitter Tears of Petra von Kant?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- País de origen
- Sitios oficiales
- Idioma
- Títulos en diferentes países
- The Bitter Tears of Petra von Kant
- Localizaciones del rodaje
- Empresas productoras
- Ver más compañías en los créditos en IMDbPro
Taquilla
- Presupuesto
- 325.000 DEM (estimación)
- Recaudación en Estados Unidos y Canadá
- 8144 US$
- Fin de semana de estreno en EE. UU. y Canadá
- 11.623 US$
- 16 feb 2003
- Recaudación en todo el mundo
- 9978 US$
Contribuir a esta página
Sugerir un cambio o añadir el contenido que falta
Principal laguna de datos
By what name was Las amargas lágrimas de Petra von Kant (1972) officially released in Canada in French?
Responde