'Murderer's House' - University of Victoria

Lene and Hans together in a three paneled mirror on their wedding day visually
consummates the couple‟s idealized hope for their life together (Kosta 124). Yet while
the central panel of the mirror shows the couple happily seated together, the side panels
reflect each partner separately and thus fragment them (McCormick, Politics 190). The
individual reflections of each partner juxtaposed to their unified image, can be seen as
symbolically foreshadowing the separation and alienation which they will experience
from one another later in the narrative.
Other cues that Sanders-Brahms uses to underscore the stifling and restricting
effect of the domestic realm on her mother are Lene‟s behaviour within her home and an
evocative reference to another German fairy tale. Within the confines of her house, Lene
moves in a wooden and careful manner and speaks relatively little. Moreover, the
director emphasizes the oppressive nature of women‟s confinement to the home in a
scene where Lene pricks her finger on a needle left in the curtains. The pricking of the
finger alludes to the Grimm fairy tale “Dornröschen” (“Sleeping Beauty”), in which a
princess pricks her finger on a spinning wheel and is put to sleep for one hundred years.
The reference suggests that the house will have a similar sedating effect on Lene (Knight,
Women 124). Moreover, the fairy tale‟s prophecy of misfortune is depicted by Hans
putting Lene‟s finger to his lips as though sucking the life force of out of her (Kosta 124).
The pin prick and Hans‟ response also takes place in the scenes where Lene and Hans
first make love. Therefore, it could also symbolize Lene‟s sexual maturation and loss of
virginity. Hence, as Lene readily assumes the traditionally sanctioned role of married
woman as homemaker during the prewar period, Sanders-Brahms already visually
undermines the illusion of the domestic sphere as the seat of harmony and happiness.
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