Throughout, she speaks the truth, we are led to believe, about everything except the relationships of the men in her life, which with great dignity and strength of purpose, she refuses to reveal. And it is this feminist aspect of her being that helps us to completely sympathize with her plight. Her former husband, only too ready to be interviewed and comment of his previous wife, indicts himself in his act; we can clearly perceive why Katharina has left him. Another man, with whom she has been having an affair, refuses to come forward and rescue her. The country home to which she has given her the key, has now become the hiding place of the so-called terrorist Ludwig (Jürgen Prochnow). Despite hate letters and salacious offers for sex, however, Katharina remains firm in her convictions: she is convinced that the police have no right to intrude upon her personal and inner life. Amy Tubin has expressed the issue rather nicely:
this film across class and political lines is the need to keep women
in a subservient position. In the eyes of the law, Katharina is
guilty, first and foremost, of the crime of being a woman. That
she’s a woman who refuses to allow the patriarchy to determine
her value compounds her guilt.
Los Angeles, August 12, 2013
*There are several recountings of this on the internet and in print. See, for example, The New York Times, April 25, 2013.