, 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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