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A complicated woman: Early Brigitte Bardot

Brigitte Bardot has just turned 80 today (28th September), and as a birthday tribute to one of the iconic film personalities of the twentieth century, I want to briefly highlight some of her early filmography that’s relevant to this blog, in order of preference. Three of the four featured here are not only remarkable films in their own right, but they also showcase her versatility as an actress and her persona as the quintessential sex symbol. They offer a window into what it must feel like to be a Brigitte Bardot – forever being selectively judged by the world with regard to her character, morals, and beauty. They give a fascinating insight into Bardot the person herself. Another thing common with the three films, and a hidden agenda behind the choice, is Brigitte Bardot dancing the cha-cha-cha..!

1. “La vérité[1960, France, Italy]

When we talk of Henri-Georges Clouzot as director, we’re talking about ‘classic’ French cinema, of the pre Nouvelle Vague era. His absorbing courtroom drama “La Vérité” [Eng. Title: The Truth] literally places Brigitte Bardot on the dock and questions her morality and candid sensuality.

Brigitte Bardot in La VéritéAccused of murdering her former lover, Dominique’s (Brigitte Bardot) past is laid bare in an open court and mercilessly examined by a prosecuting lawyer. In claiming that Gilbert’s (Sami Frey) murder had everything to do with his recent engagement to her sister Annie (Marie-José Nat), the lawyer attempts to paint Dominique as an evil-minded, selfish woman with loose morals and few scruples.

Brigitte Bardot in La VéritéFree-spirited Dominique, after several procrastinations and a suicide-attempt, is allowed by parents to move to Paris and live with his music student-sister. Education doesn’t interest her, but the city and its youth culture does, and so Dominique wastes little time in getting acquainted with young men congregating in a latin café. She moves out of her sister’s apartment and lives alongside her new friends, sometimes having sex with them.

Brigitte Bardot in La VéritéDominique expresses her sexual freedom through various casual encounters, and while initially shocked by her frankness and appetite for sex, Gilbert, Annie’s friend from college, will find her fascinating, and he’ll soon also become obsessed with her. He must have her, and to this end he pursues her despite knowing that she finds him boring at times. He will declare his love for her even after being told that she was with another guy only moments earlier. His perseverance will pay off, and Dominique too will begin to fall in love with him.

Brigitte Bardot in La VéritéHaving ‘scored’ finally, Gilbert tries to take control of her life – teach her culture, good taste in music, and so on, but Dominique, despite some futile attempts, will find it hard to reconcile her love for him with her own needs, and often ends up being unfaithful to him. They inevitably break-up, and Dominique, suddenly left homeless and jobless after her flatmate leaves to the US, takes up prostitution to survive. She’s still in love with Gilbert, but he’d by now settled for a career in music, and the virginal Annie…

Brigitte Bardot in La VéritéThe drama makes a passionate plea for a woman’s right to live the way she wants to and not be judged, and also questions men’s desire to control them. Dominique had unwittingly become a victim of her own strengths – her beauty and sensuality, by being hounded by men seeking her as a trophy to behold and a free spirit to subdue, while all she ever wanted was the freedom to be her own self, and be loved. But the world refuses to see it that way – according to them, she’s a loose woman who must be taught lessons on how to behave in a ‘respectable’ society. Brigitte Bardot’s finest on-screen performance is made all the more poignant due to the uncanny resemblance of her celebrity-image to that of her character. Directed impeccably by Clouzot, the film blends neo-realism with a dash of glamour. The film is naturally Highly Recommended Viewing..!

Amazon DVD Link [PAL]

 

The Nudity: Brigitte Bardot and Barbara Sommers
Three scenes feature brief nudity from a calendar-perfect Brigitte Bardot, one of these is a fine example of a beautiful nude derrière dancing the cha-cha-cha. In a memorable scene which would’ve given young men sleepless nights at the time, she performs the same while lying in bed with nothing but a white sheet covering her naked body. It begs the question – why are such (dancing nude) scenes so rare to see nowadays..?

Brigitte Bardot nude in La vérité aka The Truth

Brigitte Bardot as seen in Clouzot’s “La vérité” (The Truth), 1960, France.

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2. “En cas de malheur” [1958, France, Italy]

Claude Autant-Lara is yet another legendary name in classic French cinema. He presided over both the formative and innovative years of his country’s film industry, and has always been a versatile and highly gifted director. His stirring romantic melodrama “En cas de malheur” [Eng. Title: In Case of Adversity (UK), Love Is My Profession (USA)] is again crime-of-passion-themed, and stars a fabulously beautiful Brigitte Bardot alongside superstar Jean Gabin, a combination that in no small way also helped making the film’s controversial subject more palatable.

Jean Gabin and Brigitte Bardot in En cas de malheurThe film begins with a bungled robbery at a jeweller’s by prostitutes Yvette (Brigitte Bardot) and Noémie (Annick Allières) – the jeweller’s wife is seriously injured during their getaway. Yvette approaches renowned lawyer André (Jean Gabin) and begs him to defend her, and because she couldn’t afford the fee for his services, offers in return her own, in exchange.

Jean Gabin and Brigitte Bardot in En cas de malheur

A married and hitherto faithful André helps her out of pity and even gets her acquitted, but is smitten by her beauty nevertheless. Yvette will become his willing mistress, with full-knowledge of his tolerant and remarkably perceptive wife, He will even buy an apartment to house her in, and allows her to live as she pleased with no questions asked, provided she spares some time for him in return. He doesn’t expect her to be faithful, but demands that she henceforth stop prostituting herself, sell drugs, or get drunk.

Brigitte Bardot and Franco Interlenghi in En cas de malheurTheir arrangement works for a while, until Yvette’s boyfriend Mazzetti (Franco Interlenghi) enters her life again. There is after all only so much that an ever-busy and middle-aged André can offer her in terms of excitement, and Yvette and Mazzetti quickly catch up with the times they were apart. But Mazzetti, prone to bouts of violent temper, will want to have Yvette all to himself, and would go to extraordinary lengths to pull her away from André’s influence. Yvette, whilst trying to escape his tyrannical ways, will nevertheless be drawn back to him, with devastating consequences…

Well written, and exceptionally performed by all the main actors, particularly Jean Gabin, the film oozes class and wit – it is not as well known as Bardot’s other films, but it is a hidden gem waiting to be rediscovered. You won’t be disappointed and the film is definitely Highly Recommended Viewing..!

Amazon DVD Link [PAL]

 

The Nudity: Brigitte Bardot
Two brief scenes feature nudity from Brigitte Bardot – even by her own yardstick of beauty, this film significantly raises the bar – she is ‘the’ quintessential femme fatale, and ‘the’ celestial creature. What I meant to say is – she couldn’t possibly have been more stunning than she’s in this film. The lighting, the angles, and the composition lends her a charisma that would’ve forced you to forgive her even if she were to commit the gravest of crimes. Forget about nudity – watching her clothed is sensational enough..!

Brigitte Bardot nude in En cas de malheur

Brigitte Bardot in all her glory in “En cas de malheur” aka “In Case of Adversity” [France, 19580.

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3. “Et Dieu… créa la femme” [1956, France, Italy]

Brigitte Bardot was his wife and also the first-billed star in Roger Vadim’s torrid romance drama “Et Dieu… créa la femme” [Eng. Title: ...And God Created Woman]. The Eastmancolor spectacular would’ve been far less sympathetic to Brigiite Bardot’s character, had it not been for her convincing and persuasive performance.

Curt Jürgens and Brigitte Bardot in Et Dieu... créa la femmeJuliete (Brigitte Bardot), an eighteen year old orphan living with her foster parents in a fishing village (pre-tourism St. Tropez), is self-absorbed and already sexually active, much to her mother’s disapproval. Middle-aged businessman Eric (Curd Jürgens) is just one of the many men who covet her. But she’d set her eyes elsewhere, on the hunky  Antoine. However, Antoine only wants to bed her and doesn’t quite consider her as girlfriend-material. He leaves her stranded at the bus stop after promising to take her away with him.

Jean-Louis Trintignant and Brigitte Bardot in Et Dieu... créa la femme aka ...And God Created WomanJuliete now has just one choice – she could either go back to her orphanage after her foster parents complained to authorities about her bringing their house into disrepute, or she could avoid it by finding herself a man to marry. Antoine’s younger brother Michel (Jean-Louis Trintignant), who had always fancied her, steps in with an offer of marriage, and despite the priest’s explicit advice against it, they tie the knot.

Brigitte Bardot and Christian Marquand in Et Dieu... créa la femme aka And God Created WOmanMichel allows her to remain the free spirit that she was because he accepts and loves her the way she is, and Juliete too responds by loving him in return. But when Antoine returns back to the village to manage their newly merged shipyard, things become complicated, and Juliete begins to lust after him once again. Despite her being his sister-in-law, Antoine wastes no opportunity in having his way with her, and to make matters worse, also tells his mother and brother what he did to her.

Brigitte Bardot in Et Dieu... créa la femme aka And God Created WomanThe film became controversial because Vadim had used Juliete’s promiscuity to directly challenge the culture of philandering and misogyny among men. Juliete’s desire to live the way she wants is also a bold feminist statement for its time – years before the sexual revolution took off. At least in the raw physical manner of its presentation, it is a ground-breaking film – and it is to Ms. Bardot’s credit that her not-so-endearing screen character is elevated to a crusader demanding equal sexual space to that of men. She may be the epitome of sensuality – her sexual appetite only matched by her indulgence and selfishness, but she also has a positive side; her kindness towards animals, and her genuine regret of loosing judgement for a fleeting moment of sexual pleasure. The drama reaches a crescendo with a Bardot dancing cha-cha-cha in seemingly gay abandon for a rehearsing Cuban jazz band as an exasperated Michel helplessly watches; the long scene’s worth the ticket value in itself. But the film unfortunately does also compromise some of its integrity towards the end, either with an eye on the box office, or for placating the censors. A sign of its times – I guess, but it is still, Recommended Viewing..!

Amazon Blu-ray Link

 

The Nudity: Brigitte Bardot
The film features two brief flashes of nudity from Brigitte Bardot – and for the first time in colour. There’s also one scene featuring concealed nudity when her character emerges from the sea, soaked to the bone and determined to ‘have’ Antoine.

Brigitte Bardot nude in Et Dieu... créa la femme

Brigitte Bardot from Roger Vadim’s “Et Dieu… créa la femme” aka “…And God Created Woman” (1956).

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4. Manina, la fille sans voiles [1952, France]

Brigitte Bardot in Manina, la fille sans voilesWilly Rozier’s listless romance “Manina, la fille sans voiles” [Eng. Title: The Lighthouse-Keeper's Daughter (UK), The Girl in the Bikini (USA)] is the most underwhelming film of the four listed here. The only reason for it featuring in my list is because it is also the first instance of film nudity from Brigitte Bardot, in what was also among her very first films.

 

Brigitte Bardot in Manina, la fille sans voiles aka The Lighthouse Keeper's DaughterManina (Brigitte Bardot), who lives in a lighthouse with her parents in a desolate Corsican island, is befriended by diving enthusiast and Parisian college student Gérard (Howard Vernon). He discovers an ancient artefact in the seabed which he’ll later learn to have probably belonged in part to a legendary sunken treasure. He goes back after five years and tries to locate the rest of the bounty with the help of a cigarette smuggler, and falls for a now all grown up and mostly bikini-clad Manina. He finds the treasure and loses it to the smuggler, but all ends well because he’d at the least had an adventure and got himself a pretty girl.

Brigitte Bardot in Manina, la fille sans voiles aka The Lighthouse Keeper's DaughterIt is a poorly directed film with some surprisingly mediocre acting, choppy editing, and a monotonous mandolin incessantly twanging away in the background (and some crunching noises that shouldn’t have been there in the first place). But Bardot, all of eighteen, is at her adorable innocent best here – her face is yet that of a child, and there wouldn’t have been any hint of sensuality were it not for her fully grown breasts. It’s safe to assume that the only reason the film ever made it to DVD was Brigitte Bardot. She displays her budding talents with whatever little scope she’s offered, and that includes her sweet singing voice getting an airing. I’ve left the subtitles on in this sample clip, but I can bet that most of you won’t be following it too closely…

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Amazon DVD Link [PAL]

 

The Nudity: Brigitte Bardot
My DVD is an NTSC edition, and as far as I’m aware, there is only brief partial nudity in the film when a sunbathing Manina is disturbed by the bad guy. It must’ve yet caused a sensation because nudity in any form was quite uncommon those days.

Brigitte Bardot nude in Manina, la fille sans voiles aka The Lighthouse Keeper's Daughter

A young Brigitte Bardot in “Manina, la fille sans voiles” aka “The Lighthouse Keeper’s Daughter” (1952, FR).

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A review: “Jours tranquilles à Clichy” [1990 France, Italy, Germany]

Too often in the history of cinema have we seen a legendary director bring an inspired piece of literature to film and completely miss, not only its central theme, but also the pulse. The culprit on this occasion of ‘artistic license’ is none other than Claude Chabrol himself, and the work that suffered the misfortune was Henry Miller’s autobiographical “Quiet Days in Clichy”.

Abdrew McCarthy and Nigel Havers in Jours tranquilles à ClichyGranted, Chabrol’s “Jours tranquilles à Clichy” didn’t set out to merely replicate the novella for screen, it was also meant to be a vehicle for some of his own material. It wasn’t the case that the original and Chabrol’s own ideas couldn’t sit well together – he could have done justice to both, but it fails due to a number of reasons.

Stéphanie Cotta in Jours tranquilles à ClichyThe ‘quiet days’ that Miller recalls is mainly about the poverty he and his flatmate Carl endured as struggling writers amidst the decadence of nineteen thirties’ Paris. But what we’re presented instead is a stream of ostentatious indulgence. Frequently finding themselves among the burlesque opulence of a high-class bordello, Carl and Joe (Miller) hardly remind us of guys who might any time be kicked out by their landlord.

Nigel Havers and Stéphanie Cotta in Jours tranquilles à ClichyChabrol, while sticking to the period against which the novel was set, refuses to include the protagonist’s ‘survival-mode’ economic backdrop, due to which the novel is taken out of context. Miller was well into his forties during the period against which the novel is set, but here he’s represented as a wide-eyed youth in the form of Andrew McCarthy. And Nigel Havers would never make a Carl even if the sun were to rise from the west, impeccable accent notwithstanding. At least, they got the fifteen year old Colette (Stéphanie Cotta) right in the casting department. But Chabrol would’ve rather given the film a different title altogether, if only to allow us to talk about his film instead of the dubious nature of his adaptation.

Barbara De Rossi and Andrew McCarthy in "Jours tranquilles à Clichy"But let me add a few words about the film, if only to do justice to one of Chabrol’s most uncharacteristic films in his long and illustrious filmography. The additional material he brings to this film is more of a tribute to Luchino Visconti (Death in Venice) and possibly Bob Fosse (All That Jazz). Miller, during what’s presumably his final hours, pines for the perfect beauty of an adolescent girl (played by a just-about adult Giuditta Del Vecchio). Her illusionary presence is there only to preside over his death, alongside the vultures and free loaders waiting outside. I don’t remember coming across symbolisms of this kind in any of Chabrol’s films – this is more of Jean-Claude Brisseau’s territory.

Anna Galiena and Nigel Havers in "Jours tranquilles à Clichy"As for the film’s technical merits, there’s something really awkward about the set design – there’s too much of an attempt at aping a Visconti, and very little recreating Paris and Clichy of thirties. But I have to admit that I adored the twin bath featured in the bordello, an original antique perhaps. As with most mainland European films with original English dialogues, there is a distinct cultural disconnect with its intended anglophone audience, that unintentionally lend a surreal air to proceedings. For the type of film, its editing is decidedly choppy, and I’m pretty sure that my DVD is the integral version (116 mts, PAL runtime) rather than some butchered 90′s print.

All said and done, while it might be futile to compare different cinematic adaptations of literary works, one is nevertheless tempted to draw comparisons between the two existing adaptations of Miller’s Quiet Days in Clichy, and if I were to choose one, it will have to be the rather incomplete, poorly constructed, but beautifully crafted, and ultimately more accurately rendered Danish version.

Amazon.fr DVD Link [PAL] | Amazon.fr Blu-ray Link

 

The Nudity: Eva Grimaldi, Barbara De Rossi, Stéphanie Cotta, Anna Galiena, Margit Evelyn Newton, Maria Cristina Mastrangeli, Federica Farnese, Mónica Zanchi, Giuditta Del Vecchio, and others
As you might have guessed – with the long list of names, the film features plenty of nudity. You might also notice that many names are Italian. They speak in English, and for someone who has a particular fondness for ladies speaking English with an Italian accent, it ticks several of my boxes. Apart from the nubile Giuditta Del Vecchio, the highlight will have to be the crazy Anna Galiena scene which, while not nearly as explicit as the Louise White rendering of the same character, is among the few successful attempts at comedy by Chabrol. There’s hardly any male nudity – Nigel Havers is shirtless in one scene, and there’s a brief side-on view of McCarthy during a sex scene. That’s Chabrol for you..!

Eva Grimaldi, Barbara De Rossi, Stéphanie Cotta, Isolde Barth, Anna Galiena, Margit Evelyn Newton, Maria Cristina Mastrangeli, Federica Farnese, Mónica Zanchi, Giuditta Del Vecchio nude in Jours tranquilles à Clichy

Eva Grimaldi, Barbara De Rossi, Anna Galiena, Giuditta Del Vecchio, and others in
Claude Chabrol’s “Jours tranquilles à Clichy” (Quiet Days in Clichy).

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That stench, of a rotting world… “Baixio das Bestas” [2006 Brazil]

So exclaims Heitor to his neighbour and friend Mario, referring to falling standards of honour and respect within society. He ticks off a ‘permissive’ culture with ‘loose morals’, and castigates skimpily clad hostesses appearing on TV. He alleges that these occurrences are due to the lack of ‘real men’ with a sense of shame and authority. It is the same Heitor who will also display his teenage granddaughter naked to paying strangers at a truck stop. It is the same Heitor who gropes and treats the motherless child as slave, and it is the same monster who’s also her biological father.

Dira Paes in Baixio das BestasIn “Baixio das Bestas” [Eng. Title: Bog of Beasts], Cláudio Assis pulls no punches in giving his tuppence-worth concerning sexual exploitation in the hinterlands of northern Brazil – a land of sugar plantations, poverty-stricken labourers, and denuded industry. The place is so poor that even prostitutes struggle to make a living; they’d put up with the worst kind of psychos to get by, because whatever business there is, is frequently siphoned off by pubescent (and younger) girls newly sold into slavery, often by family. It is the perfect playground for bored rich kids from city to indulge in their misogyny over weekends. The film loosely follows two sub-plots that converge towards the end, but they’re not the main focus because we mostly see them as faceless, voiceless people going about their lives – exploiting or suffering.

Fifteen year old Auxiliadora (played by a twenty one year old Mariah Teixeira) is the breadwinner for Heitor (played by Fernando Teixeira – and no relation to the former). Apart from cooking and ‘looking after’ her grandfather, she offers a mobile laundry service for townspeople, and is also the weekly strip show attraction at a highway truck-stop, overseen by Heitor himself.

Mariah Teixeira in Baixia das BestasAuxiliadora doesn’t speak very much. True to her cruelly ironic name, which refers to someone who protects and helps, we watch her stoically go about her errands with an efficient, noble, almost automated fluency without as much as uttering a word. But her story is telling; she speaks for numerous souls in the same predicament as hers, almost everywhere even today. Circumstances will conspire to force her already desperate existence through hell and beyond, before she eventually discovers a way to survive.

Cicero (Caio Blat) is the son of an industrialist living and studying in Recife, only returning to his home town during weekends and holidays. After lazing around all day at home where a self-absorbed mother fails to establish any authority, he spends evenings and nights out with fellow-rich kid Everardo (Matheus Nachtergaele) who he’s also in awe with, and who along with other layabouts, terrorise the neighbourhood and its brothels.

Baixio das bestasTheir secret haunt is a disused cinema, owned by one of the gang members’ father. They drink, pore over strewn film cuttings from porn films (there’s apparently a lot to study from 70′s pornochanchada), talk politics, play with guns, and viciously abuse prostitutes naive enough to visit their lair. The cinema aspect of the narrative also presents director Assis opportunities to expand on his symbolisms. “The best thing about cinema, is that you can do whatever you want”, says Everardo, pointedly breaking the fifth wall during a passage of play. True, these guys can indeed get away with anything..!

Mariah Teixeira in Baixio das bestasThe film is among the more brutal ones you’re likely to come across. It is depressing as it is distressing, and there won’t be a Hollywood-style finale even if you wait for the end-credits to finish rolling. Assis has a difficult subject to work with, and while it’s not nearly as nuanced as his later films, it has a raging fire inside it – burning in solidarity with the people and the region that he too hails from. Almost every main character in the film symbolise something – they may be of the extreme kind, but they’re also real – some of the horrendous scenes even mirror what we read in news bulletins these days, when we momentarily feel ashamed for belonging to the human race. It looks like nothing much has changed.

There are iconographic characterisations in the film, like the one played by Irandhir Santos as a cesspit/grave digger, who’s in love but helpless in rescuing Auxiliadora from her grandfather – he represents a conscientious and aspirational Brazil that whistles its way through adversity and yet manages to party whenever it can. The cane plantations too are a film-character, and its burning towards the end represents regeneration and new life. Scenes featuring the region’s native folk art of maracatu signify values and traditions that are maintained, against many odds.

Mariah Teixiera and Caio Blat in Baixio das bestasThe film scores very well in its technical values, and includes some of Assis’ signature tracking shots courtesy of Walter Carvalho’s engaging camera work. It has an eclectic but memorable soundtrack and the vibrant maracatu beats transport you across the ocean, to a more ancient time. The performances are real – disturbingly so, and many of the actors have since gone on to become household names – not because of this film, of course. Watching it is anything but pleasant – it is shocking and it will make you angry, but it is also a reality that needs to be told, an issue that needs to be addressed by society as a whole, and is naturally Highly Recommended Viewing..!

DVD Enquiry Link [NTSC]
This was among the pricier DVD’s ordered recently through a Brazilian friend of mine. For a modern film, it is also inexplicably letterboxed-widescreen, but it does include English subtitles. Regardless, this film’s crying out for a proper re-authoring!

 

The Nudity: Mariah Teixeira, Hermila Guedes, Matheus Nachtergaele, Dira Paes, and Caio Blat
The film features scenes of gang rape and other appalling forms of abuse, and no ‘balanced’ individual will enjoy watching it. The victims’ pain and humiliation is plain to see even if one must have a degree of imagination to actually feel it themselves. These actors – either the abusers or the abused, must surely have gone through a bit of soul-searching before and after the film-shoot. Director Assis too appears (uncredited) as one of the gropers during a strip scene.

Mariah Teixeira, Hermila Guedes, Matheus Nachtergaele, Dira Paes, and Caio Blat nude in Baixio das Bestas

Cláudio Assis’ shocking Brazilian drama “Baixio das Bestas” aka “Bog of Beasts” depicts several unpleasant scenes featuring Mariah Teixeira, Hermila Guedes, Matheus Nachtergaele, Dira Paes, and Caio Blat.

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Lifting spirits shatteringly: “The Mighty Angel” [2014 Poland]

Wojciech Smarzowski is one of the important directors working in Poland today, and his latest feature, “Pod Mocnym Aniolem” [Eng. Title: The Mighty Angel] is also among the grittiest and bleakest that he’s ever made. The film tackles the subject of alcoholism by approaching it as more than merely a social ill. I’d seen the film a few months earlier and never intended to write about it for reasons too close to home in many respects, but have nevertheless felt compelled to do so following Robin Williams’ recent passing.

Robert Wieckiewicz and Julia Kijowska in Pod Mocnym AniolemJerzy (Robert Wieckiewicz) has everything going for him – he’s a successful writer whose most recent novel is a best seller. His opinions and views are much sought after by academia and he is often appearing in various TV channels doing interviews. He is a respected and valued member of society. And he is also engaged to marry his beautiful and much younger publisher (Julia Kijowska).

Robert Wieckiewicz in Pod Mocnym AniolemBut Jerzy has a problem – one that will lead to his repeated stints in rehab. He’ll leave the clinic when he feels that he has everything under control, but his feet will irresistibly drag him to a liquor store ironically named The Mighty Angel the moment he steps off his taxi.

Robert Wieckiewicz in Pod Mocnym AniolemJerzy will end up spending most of his time and money cleaning or getting rid of clothes soiled through drunken stupors, and replacing empty bottles at home with new ones – he’s a person who truly did sound like a wind chime walking down the street when stumbling home. Before long, he’d be back in rehab once again.

Robert Wieckiewicz and Julia Kijowska in Pod Mocnym AniolemThrough all his frequent transgressions, he never realises that he’s destroying himself; in fact he doesn’t want to die – at least not just yet. He wants to drink himself to death only after he’d lived a long and happy life (better than living through dementia, in his opinion). It is small wonder that Jerzy’s relationship with his fiancée, despite her tenacious love, patience, and understanding, will reach a breaking point.

Robert Wieckiewicz in Pod Mocnym AniolemIt is their relationship’s inevitable demise that’ll lead him to hitherto uncharted territory, such as his wholesale loss of dignity, appalling injuries, and even police confinement – essentially like that of any other old bum on the street. The film ends with his subsequent release from rehab, and yet again standing at the crossroads, in more ways than one – and hoping, like most of us, to live that elusive long and happy life.

 

The central question that the film poses is none other than the age old one about the purpose of living itself. “Generally, the sense of human existence is reduced to strenuous efforts to lift one’s spirits. Ideology, for example, may serve this purpose, the same with religion, technical progress, and material goods.” Jerzy then goes on to wonder if alcohol may serve the same purpose too. It brings us to a subject that inevitably involves the often misleading term named ‘depression’. The film makes a claim that one doesn’t necessarily need to suffer from personal or societal problems in order to descend into a spiral of despair, and that it could be a philosophical issue too.

Jerzy isn’t exactly going through a writer’s block. He isn’t traumatised by the past even considering his late father’s own alcoholism, nor does he have any financial or social worries. He is successful and well loved. And yet he suffers, from problems arising from issues that are not only spiritual, but existential too. Using experiences of other alcoholics at the clinic as supporting case studies, the film is as much a comparative study about sadness as the suffering itself, associated with a habit which often begins benignly as a reward-seeking mechanism. Convincingly portrayed by Robert Wieckiewicz and unflinchingly captured by director Smarzowski, it is an unrelentingly brutal, solemn, and honest attempt to present the often-ignored other side of conventional narrative – that of the ‘bum’. It might be difficult to watch, but it’s Highly Recommended Viewing..!

Amazon DVD Link [PAL] | Amazon Blu-ray Link

 

The Nudity: Julia Kijowska and Monika Dorota
There is brief nudity shown during a couple of scenes – the first is of Jerzy and his girlfriend discussing alcoholism and expressing their mutual love for each other, and the second instance is of Jerzy having sex with a big-bosomed nurse at the rehab clinic.

Julia Kijowska and Monika Dorota nude in Pod Mocnym Aniolem

Robert Wieckiewicz and Julia Kijowska in “Pod Mocnym Aniolem” aka “The Mighty Angel” [2014 Poland].

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A film review: “El amante bilingüe” [1993 Spain]

Vicente Aranda isn’t particularly renowned for comedy, because he hardly makes any – passionate melodrama is his preferred cup of tea. That’s why “El amante bilingüe” [Eng. Title: The Bilingual Lover] stands out in his filmography, for trying to be one.

Ornella Muti and Imanol Arias in El amante bilingüeSet against the backdrop of resurgent nationalism in seventies Barcelona, the film is about an unusual romance between an oddly matched couple; Norma (Ornella Muti) is a wealthy and pretty Catalan woman, where as Juan Mares’ (Imanol Arias) just another ‘immigrant’ (i.e., not from Catalunya), street-hawking his talents along the famed La Rambla boulevard. They marry after a whirlwind romance.

Ornella Muti and Imanol Arias in El amante bilingüeReturning early from work one day, Juan surprises Norma and a shoe-shine boy (Javier Bardem) frolicking in the bedroom, nude. Norma rebukes him for his unannounced entry and leaves home in anger, but allows him to stay in the flat that she owns. Fired from his job at the family business, Juan heads back to the streets where he plied his trade earlier.

Ornella Muti and Imanol Arias in El amante bilingüeOne day, he becomes the target of an apparently random petrol-bomb attack by a group of skinheads and gets disfigured, loosing an eye in the process. Ashamed of his disfigurement, he dons a mask, and broods his fate in the apartment that he once shared with Norma. He misses her; often calling her at work just to hear her voice while pretending to be someone else, Juan will also confront her on streets disguised, and hurl a mouthful of choice expletives at her in Catalan, which he knows will only turn her on – she loves being talked dirty to in that language.

Imanol Arias and Loles León in El amante bilingüeAfter inventing a new ‘look’ for himself, Juan will practice his seduction techniques on lonely neighbour Griselda (Loles León), who’ll duly be taken by his ‘mysterious persona’. With the new found confidence, Juan will plan a scheme that’d enable him to strike up a new relationship with Norma. He’ll pretend to be Juan Faneca, a childhood friend of his, who’ll be the last person to have seen Juan Mares alive…

Imanol Arias and Ornella Muti in El amante bilingüeWhile the storyline is quintessentially Catalan, it is also not a comedy that’ll cheer audience immensely. Vicente Aranda, by mixing lighter moments with his customary dark satire, has tried to make a film that would generally be associated with fellow Catalan Bigas Luna, whose hugely successful Jamón Jamón coincidentally reached a new and wider world audience only the previous year. There are, of course, several uniquely typical Vicente Aranda symbolisms and moments on display. The house that Juan lives in has tiles constantly falling off the brickwork – a critique of crumbling family and society. A totally blind hotel receptionist, who can also foretell future, advices a half-blind Juan not to give up, since his predicament might just be slightly better off than hers.

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Also typical of Aranda’s films are the passionate, if slightly unconventional scenes of sex that they often feature, alongside a non-PC sense of humour (as the clip above). Ornella Muti and Imanol Arias were established stars but the rest were rising fast too, like Javier Bardem who appears in just a single scene but certainly creates an impression, and an uncredited Maribel Verdú who appears for no more than four seconds, playing a saxophone. Ms. Muti is as bold and classy as ever, and while this may not be Arias’ best film, it is at least a different role to the ones he’s used to. Whether you love or hate Vicente Aranda films, you’ll certainly find them remarkably original, and for want of a better word – ‘memorable’ even. This film isn’t any different.

Amazon.it DVD Link [PAL] | English Subtitles

 

The Nudity: Ornella Muti, Javier Bardem, Loles León, and Imanol Arias
Prepare yourself for some kinky goings-on and dirty talk during the film’s sex scenes. The leading lady here likes to play with her lovers using a shoe (and both Bardem and Arias enthusiastically oblige), and in one scene Ms. Muti also begs Juan to pee while still inside her – they’d just finished having sex and he was about to pull out, to use the toilet. There’s also a scene of a voluptuous Loles León purring as she invites Juan to join her in bed. Spaniards are indeed a fascinating people when it comes to sex..! :-)

Ornella Muti, Javier Bardem, Loles León, and Imanol Arias nude in Vicente Aranda's "El amante bilingüe"

Ornella Muti, Javier Bardem, Loles León, and Imanol Arias in Vicente Aranda’s “El amante bilingüe”

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Posted in Ornella Muti, Spain, Vicente Aranda | Tagged , , , , , , , , | 2 Comments