Word: petra
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Dates: during 1980-1989
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...spirit, and not a drop of Irish blood. She developed her politics in the U.S. and now directs them most forcibly against America. As the attractive star of a radical "antiparty" party that disdains celebrity, she is the frequent subject of glossy articles and the constant target of photographers. Petra Kelly, 35, the feisty, fiery gamin who speaks as the uncrowned leader of the Greens, is hard to overlook...
...purpose of the Nuremberg exercise, according to Petra Kelly,* 35, a founder of the Greens and a candidate for the West German Bundestag, was to indict "the world's five nuclear-weapons states, but mainly the U.S. and Russia." Said she: "What we are trying to do is to show that the very possession of nuclear weapons is a crime of immense proportions...
Performers Betty McNally (Mrs. Stockmann), Jim Caudle (Dr. Stockmann), and Colette Auerswald (Petra Stockmann), each fall prey to a common inconsistency--switching indiscriminately from stereotypes to realism, not having developed the characters sufficiently to manage such a switch. Will Johnston (Captain Horster), Erik Corwin (Morten Kitty), and Roger Rignack (Aslaksen), however, are not inconsistent. They simply choose to not develop their characters--period...
...remarkable family, with genetic similarities more noticeable than the vagrant differences in individual ambition, audacity or achievement. Each sibling carries his or her own snapshots: the weary hostility that spills across a kitchen table in The Merchant of Four Seasons; the riff of revenge in The Bitter Tears of Petra von Kant when a quiet young woman walks out on her longtime dominatrix to the bluesy strains of The Great Pretender; the logger-heading of fear and desire in a dozen Fassbinder movies, where the lighting is lurid, the sound track crackles with tinny music and drunken threats...
This is the movie version, and it cleaves as tenaciously to the facts as any star biopic from Hollywood's heady days. Fassbinder built his reputation with films (The Bitter Tears of Petra von Kant, The Marriage of Maria Braun) that played high-voltage melodrama as deadpan farce; here he has turned Lale's tale into what Hanna Schygulla, who impersonates her in the film, calls "a Nazi fairy tale." As the new star gorges on her celebrity, making love to her mirror image in a palatial white bedroom, her countrymen starve...