It’s a complicated friendship
I Margaret ho von Trotta is known
for making films that explores
the.importance of relationships
between women, Yet her pic
tures arts a far cry from the
. "buddy” films that examine
.friendships between men. Von
Trotta not only delves into the emotional needs
for .best friends and confidant's, but afs'o the con*”
flicts that arise* because of fbests deeds' — conflicts .
.in relationships with men. with families, with .
' husbands and.lovers.
. "Sheer Madness" explores these themes
with even: mods complexity than in Von Trotta'#
' previous.features. The.two women are Olga.fHa.n
na Schygulla). a self-po'ssessed professor. Of
■ women's literature, and Ruth (Aiigela Winkler). a
withdrawn woman who paints, black-and-white
copies of airt masterpieces.” ..
fThey, meet at « party thrown by a mutual
friend Ruth k'eeps to. herself and.to her husltand
Frerut (Peter StridbpcKb-4.frienfl-of Qlga*.* hus;
hand |)ieter (Franz.Buchrieser),-from, whom she is
separated. ‘The'sullen Ruth disappears' with a
clothesline and Fra'nz fears she will kill herself. tfs
her bmthor'did whije she was a.child It.is Qlga
who saves Her* * • . •*.V ‘
* -• .. Franz encourages tlje budding.relationship.
v’ .’as Ruth has ne-v*.'«mers-fri**nd« -She-has practical1
. fy- withdrawn herself from ‘the.Tworld-. 'afraid to'
apswer ' phofies/ and' '.0m harassed *to* show her
works to anyone' OlgH.gives Ruth .self-confidence
' as Ruth'opens u p'.t o' he r* We* fi n dth a i' R u t h herself^
. was'once a; teacher'and paints herown original
.‘work lOlga gives •Ruth'enr.ouragementto throw
off her dependency or(‘Krariz," and this fa where
Frartz intervenes, * .
The relationships in' "Sheer Madness." are
• complex ‘and by: no mearjs easily 'attribuled to-,
"good guys" sod ’-'bad guys."- It would be too
easy to ascribe the Oiga-Ruth union to' a mother
daughter pdahunship. but the elements are there.
Olga nurtures: and assures Deiter (a. theatrical.
*LAYIWG
r1-er-sW" *"sg
IS
director always in need of her opinion). Alexij
(whose musical career is this side of nowhere),
and her son. who cannot seem to relate to anyone
else (most especially his father. Ruth is nurtured
and guided, by. Franz, by her mother, by Olga.
•' Yet the central friendship between Olga and
Ruth is positive because it is constructive. Franz
deeply loves Ruth but fears her increasing in-- •
.- dependence and her growing bond with Olga. To
• Franz-.' this . relationship has “systematically
.alienated" Ruth from his .affections.
Kveryone advises Olga and'Ruth to step, out;'
• of-their relationship, but the two women discover
. "they peed each'other. Finally; in Ruth's most-self'
■ assured .move, she travels to Cairo.with Olga'to •
. teach women's literature, and meets back up with
. her husfhan'd.at' the house .where sHe-'fjrst met .
Ruth.' Now the balance, has changed, however.
Franz-dries-not ■"dominate, lie-attacks, and.'Bruno
fthe head of.the house).agrees. Yet^his attack on •
"Olga, which-erupts into a physical confrontation'.'
alienate^. "Ruth k.frprii''-Fran/..- and Franz must”.
,apologi.z(¥ (ftincere.ly. I believe) so she-cari coax
»' Ruth but,of-her withdrawal. .‘ ‘
•"- "Sheerf.Madness'' is -not a happy.tale..-The •
•• narrative is. ptinctuated "by ’ black-and-whita- se-V
• quimces "which*, see’m to" come, from Ruth's con-* '
• sciousopss (simijar to her art reproductions). The' \
insertjf shoY iFraiiz walking" through‘an empty’-,
'• house* and ■ iriniiy finding Ruth hanging fruiti a •
- rafter in-the attic:. Il’ign't clear whether.-the*scenes
are flash-forwards".premonitions oir fantasies, but- .
they .put. a-fatal tonei'nto the film'. • . •• .- *....
' •. * i io.Wever. Von Trotta also celebrates what tlje- "
, Velatibnsh'ip between"Olga and.Ruth can be at its-.’
.best. "Specifidalfy", ,the*. Cialro 'scene shows two
• women ‘workirig. and teaching as equals. Earlier. •
•at a party. Olga's lover Alexij pjays.a "request and
Olga .begins; t’o "sing°“.But Will You- Lpve Me .
. Tomorrow,Y first to. Alexij, then turning'to Ruth'
.' who has,Cometo°her-side •' . :
By Seen Axmaker
• Continued on Page 7B
Staff
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