Nora Helmer 1973 Ages 15+
6.00PM Wed 27 Jun 2018
GOMA | Cinema A | Free
Everyone in the play, including Nora, needs to emancipate themselves, and Nora certainly doesn't see the light of revelation at the end. She is just as dumb as before, and I see the struggle between Nora and Helmer as a battle for points, which I think is cheap, but also very realistic. In reading Ibsen, I have been unable to find any confirmation that she is a pioneer of women's liberation. – Fassbinder on A Doll's House
Working within the confines of a television studio, Fassbinder still managed to breathe new life into Ibsen's classic play A Doll's House. Adapting it in minor yet radical ways, Fassbinder remains faithful to the trajectory of the play even as he rejects the standard feminist reading of it. Never allowing Nora the chance to be infantilised, Margit Carstensen plays her as a woman with assurance who is nevertheless rendered powerless by her lifeless bourgeois marriage. In typical Fassbinder fashion, the play is stripped of all sentimentality, leaving only the callous core of its characters. When A Doll's House was first staged in Germany, the ending was notoriously altered so that Nora did not leave her family (Ibsen later called it a "barbaric outrage"). So it is with some irony that nearly a hundred years later, Fassbinder would not end his version as Ibsen intended, but with ambiguity instead.
SD VIDEO TRANSFERRED TO 16MM, 1.33:1, COLOUR, MONO, 101 MINUTES, WEST GERMANY, GERMAN (ENGLISH SUBTITLES) / DIRECTOR: RAINER WERNER FASSBINDER / BASED ON THE PLAY BY HENRIK IBSEN, TRANSLATED BY BERNHARD SCHULZE / CINEMATOGRAPHER: GÜNTER STEINKE / EDITORS: ANNE-MARIE BORNHEIMER, FRIEDRICH NIQUET / ART DIRECTOR: FRIEDHELM BOEHM / COSTUME DESIGNER: BARBARA BAUM / CAST: MARGIT CARSTENSEN, JOACHIM HANSEN, BARBARA VALENTIN, ULLI LOMMEL, KLAUS LÖWITSCH, LILO PEMPEIT, IRM HERMANN / PRODUCTION CO: SAARLÄNDISCHER RUNDFUNK / TELEFILM SAAR GMBH / PRINT SOURCE: NATIONAL FILM AND SOUND ARCHIVE AUSTRALIA / RIGHTS: SAARLÄNDISCHER RUNDFUNK