The Bitter Tears of Petra von Kant (German: Die Bitteren Tränen der Petra von Kant) is a 1972 German film directed by Rainer Werner Fassbinder, based on his own play. This film has an all female cast and is primarily set in a wardrobe at the home of the protagonist, Petra von Kant. It follows the changing dynamics in her relationships with some of the other women. It is a witty tragedy of lovesickness and one of Fassbinder’s most powerful plays and films.
Petra von Kant is a famous fashion designer whose marriages have ended in death and divorce. The first was a great love, the second began as that and ended in disgust. Petra lives with her assistant and reveals her sadistic side to her, making a some kind of codependent relationships. Now, through a friend, Petra meets Karin, a desirable, ruthless 23-year-old recently separated from her husband. Petra persuades Karin to become a model and very quickly falls madly in love. But Petra's obsessive love gets eventually rejected. Karin leaves Petra. Petra eats her own heart out. Turning over a new leaf, she talks to her assistant in the tender accents of love. But the assistant, who has satisfied her personal masochistic desire by submitting to Petra, leaves her, too. Petra is left alone to give way to tears and despair.
[edit] Opera adaptation
The text of the play, in its English translation by Denis Calandra, was employed by Gerald Barry as the libretto for his five-act opera, commissioned by RTE and English National Opera and premiered in Dublin and London in 2005. The opera is also available on CD featuring the RTE National Symphony Orchestra [1]
The opera deals with her obsession, her rejection by Karin, and her disintegration.
- posted on 04/11/2007
others:
Art movies:
* The Whip and the Body (La Frusta e il Corpo) (1965) (starring Christopher Lee and Daliah Lavi)
* Belle de jour (1967) (starring Catherine Deneuve)
* The Libertine, (La Matriarca) (1969)
* Daughters of Darkness, (Le Rouge aux Lèvres) (1971) directed by Harry Kümel starring Delphine Seyrig
* The Bitter Tears of Petra von Kant, (Die Bitteren Tränen der Petra von Kant) (1972) directed by Rainer Werner Fassbinder
* The Night Porter, (Il Portiere di notte) (1974) (starring Dirk Bogarde and Charlotte Rampling)
* Story of O, (Histoire d'O) (1975)
* The Image, (The Punishment of Anne) (1975)
* Salo, or The 120 Days of Sodom, (Salò o le 120 giornate di Sodoma) (1975) directed by Pier Paolo Pasolini
* Maîtresse, (1976) starring Gérard Depardieu and Bulle Ogier
* A Woman in Flames, (Die Flambierte Frau) (1983)
* Crimes of Passion, (1984)
* Seduction: The Cruel Woman, (Verführung: Die grausame Frau) (1985)
* Blue Velvet (1986) (starring Kyle MacLachlan, Isabella Rossellini, Dennis Hopper and Laura Dern)
* 9½ Weeks, (1986) (starring Kim Basinger and Mickey Rourke)
* Tokyo Decadence, (Topazu) (1991)
* Bitter Moon (1992) (starring Hugh Grant, Kristin Scott Thomas, Emmanuelle Seigner, and Peter Coyote)
* Spanking Love (1994)
* Venus in Furs (1994)
* The Bondage Master (1996) (Japanese indie film directed by Keisuke Konishi)
* Of Freaks and Men, (Pro urodov i lyudej) (1998)
* Lies, (Gojitmal) (1999)
* Moonlight Whispers, (Sasayaki) (1999)
* Romance, (Romance X) (1999)
* Quills, (2000) (starring Geoffrey Rush, Kate Winslet and Joaquin Phoenix)
* The Piano Teacher, (La Pianiste) (2001) (starring Isabelle Huppert and Benoit Magimel)
* Secretary (2002) (starring James Spader and Maggie Gyllenhaal)
* Bettie Page: Dark Angel (2004)
* The Passion of Life (2005)
* A Year Without Love (Un año sin amor) (2005) (directed by Anahi Berneri)
* Hounded (Verfolgt) (2007) (directed by Angelina Maccarone)
Comedy:
* The Choirboys (1977)
* Personal Services (1987) (starring Julie Walters)
* Exit to Eden (1994)
* Preaching to the Perverted (1997) (starring Guinevere Turner)
Thrillers:
* Videodrome (1983)
* Tightrope (1984) (starring Clint Eastwood and Geneviève Bujold)
* Basic Instinct (1992) (starring Michael Douglas and Sharon Stone)
* Body of Evidence (1993) (starring Madonna and Willem Dafoe)
* 8 mm (1999) (starring Nicholas Cage and Joaquin Phoenix)
- posted on 04/12/2007
裴特拉·冯·康特是一个35岁女画家,服装设计师,她已经有了一个上中学的女儿,因不能再忍受夫妻之间的冷漠和虚伪与丈夫刚离了婚。好友西多尼从澳大利亚回来,裴特拉向她诉说对男人的看法,西多尼的婚姻幸福,她不认同裴特拉的看法。西多尼向裴特拉解绍她在奥大利亚认识的美国女子卡琳,精神苦闷的裴特拉对漂亮的卡琳一见钟情,两人不久开始同居。裴特拉给卡琳提供富裕的生活,并把卡琳当时装模特竭力向外界推出,但卡琳并不愿意被裴特拉左右,得知丈夫也到德国后,就立即离去了。裴特拉在卡琳离去后,终日精神恍惚焦急的等待卡琳回来,在她生日那天,她终于控制不住自己,大喊大叫,向所有的亲朋好友翻脸。事后,裴特拉平静下来,她意识到她并不爱卡琳,她只想占有一个人而已,卡琳打电话来,她平静地拿起话筒。
- posted on 04/12/2007
女人在对男人失望后, 转而在同性中寻找, 还是会失望. 好多例子都是这样一个历程的.
爱情(包括性爱, 精神恋爱), 很大程度与个人对生活的追求和思维方式有关.
爱情需不需要理由? 如果没有理由, 在平庸和残酷的现实生活中,就很容易会失望和无故地发泄不良情绪. 如果有理由, 在一定程度上就恋人们就能理智地平衡自己的感觉(和行为), 从而维系一段关系.
小说里, 电影里, 音乐里, 甚至歌剧里, 我们大家都歌颂不需要理由的爱情. 而这样的爱情大多以悲剧结局. 比如朱丽叶和罗密欧, 比如祝英台和梁山伯. :)
经典的台词经常发生在一对恋人之间:
问: 你为什么爱我?
答: (为了你有钱, 为了你性感, 为了你可爱, 为了你有才, 为了你老实正派, 为了你是我的TYPE, 为了你可以虐待我或为了我可以虐待你) 就是爱上你了.
问: 不可能, 一定有理由的. 如果我没有钱了, ....., 你还爱我吗?
答: 当然爱你的.
但是, 大部分人很自私. 所以, 最后一个回答大可一笑了之. 但是,大部分人因为付出感情以及生命中的一切, 而希望对方能无私地不需要理由地爱自己. 单纯的爱情, 究竟是否完整地存在于现实中? 这是没有答案的. 对一个人来说, 与其问别的男人或女人, 不如问自己. 自己真的能做到, 能有一个真实的答案, 无论是什么答案, 那也就是把握了自己的幸福.
- Re: 【BDSM电影】The Bitter Tears of Petra von Kant by Fassibinderposted on 09/21/2007
- Re: 【BDSM电影】The Bitter Tears of Petra von Kant by Fassibinderposted on 09/21/2007
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