Petra is self-centered, and Marlena is centered on her lover. This is the core of the comparison. This core is their respective prison. At the end of the film, they realized the absurdity of the core, the core was destroyed, the inner cage was opened, and finally the two were freed.
Petra is a representative of egoism. She is divorced and has a successful career. She believes that as long as she strives hard, she can get what she wants. But she doesn't understand that love is not material. She was obedient to Karin and wanted to keep Karin. Her stupidity is obvious: Malena is her servant because she loves her, but she doesn't love Malena. Since she can't repay Malena for her dedication, why does she think that Karin will be rewarded for her dedication?
Petra's egoism turns love into possessiveness. In the film, Petra has more than one line indicating that he wants to possess Karin. Her way of satisfying possessiveness is to give Karin material comfort. She didn't understand that as long as Karin didn't love her, even if Karin stayed, she would still suffer. And love cannot be exchanged for material things.
Petra waited for Karin on her birthday. In the end, he was extremely painful and furious, so exhausted, he fell on the bed. Karin really called at this time, but she calmed down instead.
I want to torment Petra repeatedly, not Karin, but the insatiable "possessive". The idea of possessing others is bound to yourself in the end. Petra finally realized that Karin was not important to him. It was at this moment that she was free.
Petra is one side of a coin, and the other side is Malena.
Malena loves Petra and gives everything for her, including dignity. In the end, her sobriety originated from Petra's two sentences.
The ending of the film is that Petra wakes up from the pain of losing love before he notices Marlena. She said she would let Marlena get "free and happy." Malena smiled and wanted to kiss Petra's hand. Petra immediately withdrew her hand and said, "Don't do this!", then said comfortingly: "Tell me about yourself...". Malena was speechless, packed her luggage, and left.
Petra decisively refused Malena's kiss, letting Malena understand that Petra had no feelings for herself. Petra asks Marlena to talk about herself, so that Marlena understands that Petra always ignores herself. After understanding these two points, Malena realized that it was meaningless to pay. To pursue "freedom and happiness", only leave: leave Petra's home-the cage of reality; leave the hopeless love for Petra-the cage of the soul.
The emotional entanglement of the three is two destined hopeless loves, two paradoxes. First, Malena is willing to give everything to her lover, and the person she loves is precisely Petra, a successful woman who advocates freedom and independence. Petra naturally does not have the slightest sympathy for Malena who is willing to become a love slave, let alone love. Second, Petra fell in love with the equally selfish and carefree beauty Karin. The same egoism pushes them to both ends of the line. On the one hand, the notion of egoism turns Petra's love into possessiveness. On the other hand, egoism made Karin ignore Petra's efforts, let alone being possessed.
Petra is an interesting character. She is both the beloved and the lover; she is both the giver and the giver. She is at the junction of these two paradoxes. The two paradoxes are connected together and become a ring, which firmly binds them. The premise of the existence of the paradox is precisely the logic derived from the three people's erroneous views on love. Therefore, only when they are aware of the wrong ideas, can they break this ring and be liberated.
Another:
Malena’s performer: Emma Heman
"She (Emma Heman) is tall, with small black eyes sunken deeply. She is not beautiful, but hides an unspeakable power. In all Among the women who have been close to Fassbinder, I am afraid that there is no one who loves or admires him more than Herman, and it is this "love" that makes her despise in Fassbinder's eyes. The characters created for her are inconspicuous, and this time is no exception. She is a machine-like workaholic female secretary, without even a single line."-From the Internet
If the above is the truth, Emma Heman is in reality For Marlena, it’s only natural for Fassbender to find Emma Herman to play this role. I just don’t know whether Emma Herman understood Fassbinder’s intentions until the end of the movie.
Scenes
A major feature of this movie is that there is only one scene in the whole film, and it is also an interior scene set up by a studio. The whole movie is more like a drama than a movie. Focus on character dialogue and light plot. But I don't know whether it is the reason for translation, the dialogue is a bit incomprehensible, and it makes people drowsy. Fortunately, the
actor is
beautiful in the film, which is quite refreshing. The two main actors with the most lines have excellent acting skills, and they are both Fassbinder's queen actresses: Maggie Carter and Hannah Schugula. I have seen "Marta" starring the former and "Marriage of Maria Braun" starring the latter. Both movies are very attractive. Both heroines left a very deep impression on me. But in comparison, I have to say that the image of Margit Carter in "Marta" left me a deep impression. Hannah Hügula is a standard beauty, quite charming. But Margit Carter's appearance is very special, especially those eyes, that mouth and her skinny, which make me never forget. Her excellent performance in "Marta" (I think she performed better than the actor, perhaps because the actor still looks not special to her), which made this movie leave an indelible impression in my mind .
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