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French Film Classics
The present best-seller Fifty Shades of Grey, using its female fantasies of bondage, sadism and discipline, has brought an eruption of media comment, as if this were a shocking new cultural phenomenon. The more excitable commentators are advised to watch Luis Bu Belle de Jour, made a lot more than 40 years ago and screening in SBS TWO French Classics season, where they learn it isn anything new at all.
It might seem odd,[link widoczny dla zalogowanych], given that 1967 gave the planet the hippy-trippy Summer of Love, but this was additionally a year that saw a much darker and repressed side of sexuality bursting into cultural view. Many of that year saw the discharge in French cinemas of Belle de Jour, whose daring scenes of S daydreams framed a tale of a middle-class wife (Catherine Deneuve) secretly going to are a prostitute at an upscale brothel. Although French critics sniffed, in france they public turned out en masse and in the autumn it had been awarded the top prize from the Venice Film Festival, the Golden Lion.
In france they premiere was just two months behind the discharge from the Velvet Underground Andy Warhol-sponsored debut album,[link widoczny dla zalogowanych], whose bold choice of subject material, including hard drugs ( and sado-masochism ( in Furs inspired by Leopold von Sacher-Masoch 1870 novel), was unprecedented in popular music. Inside a further twist of delicious synchronicity, the Belle de Jour heroine was S The male character in Lou Reed lyrics for Venus in Furs? Severin, speak so slightly/ Severin, recorded on your bended knee />
While these two cultural events were otherwise unconnected, they appeared almost simultaneously was obviously the result of a general transfer of sexual morality accompanied by a loosening up of censorship. Yet as the Velvets would need to wait another decade before their impact could be widely felt, via punk rock, the result on Bu was much more immediate. The film had become the most commercially successful of his long career.
A delight in provocation had been the Spanish-born director stock in trade ever since his 1929 surrealist film collaboration with Salvador Dali,[link widoczny dla zalogowanych], Un Chien Andalou. The protagonist is Deneuve S Serizy, a housewife married to Pierre (Jean Sorel), a wealthy doctor she dearly loves however with whom can bring herself to have sex. Within the arresting opening scene, she daydreams of being acquired in a horse-drawn carriage before being abused and flogged. From here we see her real life like a middle-class woman of leisure who, whether at a ski resort or at restaurants,[link widoczny dla zalogowanych], appears always to become dissatisfied and icily distant.
She's shocked to understand from a female friend that a mutual acquaintance is being employed as a hooker. Though she finds the advances of her husband lecherous friend Henri (Michel Piccoli) repulsive,[link widoczny dla zalogowanych], S takes note when he boasts of traversing to a particular brothel, and memorises the address. After some initial, nervous prevarication, she ends up working here as a functional girl for afternoons only underneath the nom-de-sex Belle de Jour ('beauty of the day'),[link widoczny dla zalogowanych], while her husband remains blissfully unaware. But as with John Duigan recent sex-work themed Careless Love, compartmentalising her professional and lives proves trickier of computer looks.
Why,[link widoczny dla zalogowanych], you may ask,[link widoczny dla zalogowanych], does she work here? She hardly needs the money, as explained through the endless parade of expensive Yves Saint Laurent finery she wears if not stripped down to her underwear. A short, mysterious flashback to S like a young girl apparently being handled by a sexual predator provides a strong clue (another indication of what lengths the film was in front of its time). The strength and perversity of her sexual desires are created clear by the fantasy sequences, and we see enough in the brothel scenes to realise she enjoys the professional sex at least some of the time.
The vacuousness of her comfortably middle-class lifestyle as a woman is actually something to kick against.
For a clue in the costuming department, it appears Bu deliberately sends up Pierre by clothing him inside a ludicrously camp white, chunky knit sweater that contrasts hilariously with his wife elegant style.
The deeper causes of S secret adventure is plainly spelled out when she declares that occurs in spite of me eventually I purchase my sins, but without it I could not live. Quite simply, her behaviour reflects the classic surrealist dependence on unconscious drives the deep forces, buried underneath the respectable selves we present in public, that guide and even control us.
The film is usually called erotic also it likely its original audiences thought it was highly titillating and a little shocking. Yet for all its anxiety about sex, by contemporary standards the brothel scenes are relatively chaste. Deneuve is never observed in a naked full-frontal shot,[link widoczny dla zalogowanych], only unclothed from behind, and we never see S (or some of her female colleagues, for that matter) making love. Bu prefers to concentrate on what happens immediately before and after.
So is mtss is a misogynistic fantasy about a compliant woman who loves being abused by men? With a fluke of timing Bu escaped the worst ravages from the puritanical brand of feminism that took flight within the 1970s and based on which all prostitutes were victims from the patriarchy. It vital that you note that the film, while never politically correct, is about a woman who is bored and annoyed by her social role as a dutiful, stay-at-home wife and going to rebel.
Like several of Bu work, though, the film real politics are less about conventional left versus right notions than a personal brand of anarchy in which the unconscious rules. Perversity and human cruelty are forces impossible to deny, and where social and religious hypocrisy (and note the allusions to S Catholic guilt) are the great enemies. It still creates compelling viewing.
Algeria, 1959. High in the mountains of Kabylia, Terrien,[link widoczny dla zalogowanych], an idealistic lieutenant gets control the command of the platoon at a French army outpost. Here he meets Dougnac, a cynical sergeant. Their differences and also the harsh realities in the field drive the two men to breaking point. Lost in an undeclared war, they discover that their worst enemy is themselves. Director Florent-Emilio Siri reveals the true brutality and horrors of war. Stars Benoît Magimel, Albert Dupontel and Aurélien Recoing. (From France, in French and Kabyle) (War) (2007) (Rpt) MAV (A,V)
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