Peter von Kant

In my opinion, François Ozon has never made a bad film, and this one is no exception. This is his twist on the film Petra von Kant's bitter tears by his role model Rainer Werner Fassbinder. Several reviews I've read point out how brilliantly Ozon interprets the original film. As I have not seen Fassbinder's film, I must judge Ozon's film for what it is.

This is not a film for the masses. Most of the film takes place inside an apartment, with three people. Especially the main character Peter Von Kant, played masterfully by Denis Ménochet, makes an impression. He is the great director who appears both eccentric, very self-absorbed, but also vulnerable. The film is about Von Kant and his great love/infatuation Amir (Khalia Gharbia). The two are wonderful together, showing the complexity and challenges of relationships. Fassbinder's regular actress Hanna Schygulla also appears in the film in a cool supporting role. Last but not least, I must not forget Stefan Crepon who plays Peter Von Kant's oppressed butler/servant/helper. What an amazing achievement to have such a presence, without almost a single line! As you may have gathered by now, I enjoyed the film very much. I'm already looking forward to what François Ozon comes up with next.

Anyone who is familiar with Rainer Werner Fassbinder's play, or more likely his 1972 film version of 'The bitter tears of Petra von Kant,' will quickly recognize how closely filmmaker Francois Ozon has adapted the prior work. There are differences here, certainly, by which Ozon makes his rendition its own creation - most notably but not exclusively in making his chief characters men instead of women, and in accentuating the central relationship between von Kant and the young protege. Ozon also emphasizes the extremity of the emotions at play, whereas Fassbinder was more restrained and subtle. The foundation remains undeniable, however, and the essence intact; some lines or scenes are copied almost exact, for that matter, and there's no mistaking nods on the soundtrack. The result of that duality, finding something new to create among the familiar spaces, is a faithful if more actively spirited reimagination of a classic, and one that's quite worthy in its own right.

Both for the similarities and the differences I appreciate Ozon's screenplay, rich with extra sharp and emotive scene writing, and often biting dialogue, in relating a recognizable story with complicated characters. Ozon's direction is just as admirable in orchestrating every shot and scene; he illustrates a keen eye for shot composition, and his heavier stress on strong feelings at once makes the tableau perhaps more vibrant, and definitely more acrid. One recognizes the stage play underneath the heightened energy, but it's been twisted in his own way. In turn, I dare say this approach allows the cast greater license, too, making their performance burst in hues of more intense vitality; mind you, not for one moment would I dream of critiquing Margit Carstensen, Irm Hermann, Hanna Schygulla, or their co-stars of fifty years prior, for Fassbinder's feature was exquisite, just in a manner unique from Ozon's as it relied more upon nuance. Regardless, I think there's hardly any arguing that Denis Ménochet shines like the star he is; as the demanding, jealous title character he veritably explodes with immense vitality that does most of the work to carry the film, and it's a joy just to watch him work. In contrast, Stéfan Crépon's deeply understated portrayal of put-upon but loyal assistant Karl almost threatens to outshine other members of the ensemble, including Khalil Gharbia as fiery young Amir, or the inimitable Isabelle Adjani as she plays Sidonie in this version. If that doesn't speak well to Crépon, then I don't know what does.

Meanwhile, there's no overstating what tremendous work was turned in here by those operating behind the scenes. Manuel Dacosse's cinematography is unexpectedly rich and smooth, inherently making the viewing experience a pleasant one by his effort alone. The production design and art direction are tremendous, a dazzling array of color and artful arrangement that's easy on the eyes; I'd love to explore every inch of von Kant's apartment. The costume design and hair and makeup are no less lovely, and hats off to the underappreciated sound department for crystal-clear audio. Really, by and large I think 'Peter von Kant' is pretty fantastic, and more than not I think it quite stands side by side with its predecessor, each in a manner slightly apart from the other. The one especial criticism I'd offer in this instance, I think, is arguably one of comparison, but I think it's a reasonable one of its own accord: It bears repeating that Fassbinder's picture was one of restraint and subtlety in telling its story, and there's no disputing that Ozon treads more heavily upon the feelings at play. In so doing the passion of the tale is brought forth, yes, but there's also a point to be made that it feels a tad imbalanced in the process, or maybe just simply a little blunt. It's a delicate balancing act that the filmmaker sought to achieve, and I think it came off to swell success, but not necessarily to perfection.

It's a matter of personal preference whether one favors Fassbinder or Ozon; there are worthy arguments to be made either way. Even as this 2022 title maybe comes up short ever so slightly, mostly I don't think there's any real question of which is discretely better, and it's just a matter of which style of storytelling one prefers. In any event, 'Peter von Kant' is surely marked by superb acting, writing, and direction, not to mention craftsmanship, and however one thinks it stacks up next to 'The bitter tears of Petra von Kant,' it's well deserving in its own right. Unless one is a major fan of those involved there might not be a major reason to seek it out, but this is a terrific drama that's worth exploring if one has the opportunity.

This film works if the original source material is put to one side. Taking ' Peter von Kant ' and putting it into a modern context is in my opinion the best option, and also relates better to what is seen on the screen. I was fascinated by the tackiness of the decor, the mediocrity of the characters and above all a hint at the end of the film that this was all about the death of so-called quality cinema. Perhaps Ozon would disagree, but the scenario is excellent as long as it is put into the category of camp trash. Forget too that it is set in Cologne 1972. The content as I saw it was far more relevant to the trivialities of today's soap operas and mini-series. The final scene in the film made the film work for me, the trashy image of a third-rate actor turned into a ' star, ' and the tears in Peter's eyes are more for the death of the cinema, than the empty passion of a bisexual youth's love. Peter in this film is a director and Ozon must surely have been aware of the worst of them who trade in banalities, and work for the worst of reasons and for the highest amount of money. Denis Menochet is very good as Peter, and Isabelle Adjani as Sidonie as his friend and an actor for him is superficial to the hilt, and she is excellent playing her as such. There are no real feelings in this woman whatsoever. She is all facade, and so is Khalil Ben Garbia as the luxury grabbing rising ' star ' who Peter falls in love with. Hanna Schygulla as Peter's mother shows us the past, and of all the cast she is the most real. Evoking a tenderness and a love for others that surpasses the other's understanding. Then there is Stefan Crepon, extraordinary as the silent servant to Peter's whims and needs, and also his insults. He watches everything and represses his feelings until the penultimate scene. Without a word spoken he acts with his presence alone and his perceptive eyes. For me he was the best actor in the film. As for Ozon's direction it could be seen as being less than his best but seen as a reflection of the worst of today's cinema it is spot on. A film that will endure as a requiem for what we have lost in cinema as an art form, and a reminder in future years of the superficiality of our era.

Hanna SCHYGULLA and the bitter tears of Peter von Kant

Christmas 2023 is also the 80th birthday of the exceptional German actress Hanna SCHYGULLA. Whether she played for Rainer Werner FASSBINDER Effi Briest, Lili Marleen or Maria Braun (Silver Bear at the BERLINALE 1979), or for directors like Marco FERRERI (Silver Palm in CANNES 1983 for LA STORIA DI PIERA), Kenneth BRANAGH and Francois OZON: This German diva has fascinated her audience for more than 50 years.

In OZON's homage to Fassbinder, which virtually turns his classic THE BITTER TEARS OF PETRA VON KANT on its head, SCHYGULLA gives her version of Fassbinder's mother Liselotte EDER. Already there in the original, SCHYGULLA of course knows all the dramas that are told in fiction. However, she is still going strong and there is no end in sight to this outstanding career.

The French director OZON shows the berserk director Fassbinder (or his alter ego Peter von Kant) in a milder light than the German director Oskar ROEHLER did in 2020 in ENFANT TERRIBLE. Free! The only important thing is that Hanna SCHYGULLA can exude all the warmth in her small role that only she is capable of. It's a shame that she and her colleague, the three-time ACADEMY AWARD nominee Isabelle ADJANI, were unable to walk the red carpet together in February 2022, when PETER VON KANT was the opening film at the BERLINALE, due to Covid 19!

Speaking of ADJANI! The daughter of a German mother can be seen in the role, which was probably intended as a homage to the great Ingrid CAVEN. And then Isabelle ADJANI sings "Everyone kills what he loves" (once sung by Jeanne MOREAU in QUERELLE) in GERMAN! Beautiful to melt away!

Though I've never seen Fassbinder's original Bitter Tears, I don't really think I have to in order to enjoy François Ozon's version. I loved just everything about it: the whole thing being very theatrical, the setting, the colours, the music, the texts and the silences (there's one character who doesn't speak at all but he's always there and he's fantastic!), but most of all I loved the grotesque-ness. I believe this is one of the best, classical means to express the vices of society and our human nature in general. Most of the characters in the movie, of course, are pathetic, hysterical, manipulative and violent but it is through this exaggeration that we understand that sometimes this picture is just a mirror for us to look at.

This film returned me to the basics of what a classical comedy should be. Great cast, impressive acting, gorgeous costumes and amazing photography.