'Murderer's House' - University of Victoria
'Murderer's House' - University of Victoria
'Murderer's House' - University of Victoria
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
Lene and Hans together in a three paneled mirror on their wedding day visually<br />
consummates the couple‟s idealized hope for their life together (Kosta 124). Yet while<br />
the central panel <strong>of</strong> the mirror shows the couple happily seated together, the side panels<br />
reflect each partner separately and thus fragment them (McCormick, Politics 190). The<br />
individual reflections <strong>of</strong> each partner juxtaposed to their unified image, can be seen as<br />
symbolically foreshadowing the separation and alienation which they will experience<br />
from one another later in the narrative.<br />
Other cues that Sanders-Brahms uses to underscore the stifling and restricting<br />
effect <strong>of</strong> the domestic realm on her mother are Lene‟s behaviour within her home and an<br />
evocative reference to another German fairy tale. Within the confines <strong>of</strong> her house, Lene<br />
moves in a wooden and careful manner and speaks relatively little. Moreover, the<br />
director emphasizes the oppressive nature <strong>of</strong> women‟s confinement to the home in a<br />
scene where Lene pricks her finger on a needle left in the curtains. The pricking <strong>of</strong> the<br />
finger alludes to the Grimm fairy tale “Dornröschen” (“Sleeping Beauty”), in which a<br />
princess pricks her finger on a spinning wheel and is put to sleep for one hundred years.<br />
The reference suggests that the house will have a similar sedating effect on Lene (Knight,<br />
Women 124). Moreover, the fairy tale‟s prophecy <strong>of</strong> misfortune is depicted by Hans<br />
putting Lene‟s finger to his lips as though sucking the life force <strong>of</strong> out <strong>of</strong> her (Kosta 124).<br />
The pin prick and Hans‟ response also takes place in the scenes where Lene and Hans<br />
first make love. Therefore, it could also symbolize Lene‟s sexual maturation and loss <strong>of</strong><br />
virginity. Hence, as Lene readily assumes the traditionally sanctioned role <strong>of</strong> married<br />
woman as homemaker during the prewar period, Sanders-Brahms already visually<br />
undermines the illusion <strong>of</strong> the domestic sphere as the seat <strong>of</strong> harmony and happiness.<br />
109