It’s a neat conceit, making the directing colossus of 1970s German cinema into the star of his own show. Peter Von Kant, the opening film of the Berlin Film Festival, is “freely adapted” by French …
, Rainer Werner Fassbinder’s highly stylized 1972 story of three women locked in a toxic triangle of love, jealousy, domination and submission. The storyline and much of the dialogue, is the same; where Ozon shakes it up is by making the trio all men. , which also dealt with power struggles within sexual relationships, was adapted from a Fassbinder play. Taking on, a recognized landmark of European cinema, is a bolder move, made at a different moment in Ozon’s career.
For so long a colorful supporting actor, Ménochet moves center stage here with appropriately seedy aplomb. The story itself is moved from Bremen to Cologne. Peter lives in a magnificently converted village house with a bank of windows, like a hothouse for overheated emotions. Most of our time is spent in the shadowy indoors, but sometimes we are outside, catching a glimpse of a lonely figure at the window.
Peter is attended by factotum Karl , who hovers constantly lest he be required to fetch champagne, type a letter or slow dance with his master; never speaking but watching for the slightest hint of a beckon or frown. Crepon is marvelously abject, skinny and mincing with the helpless, huge-eyed gaze of a bush baby.
Peter has a daughter, Gabrielle, packed away to boarding school and a largely absent but dependent mother, Rosemarie. Rosemarie is played by Hannah Schygulla, who played Petra’s object of desire in Fassbinder’s original. Now 78, she wears her advanced years like furs.
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