A Married Woman (Cohen, Blu-ray, DVD), subtitled “Fragments of a film shot in 1964,” is Jean-Luc Godard’s modern portrait of love and sex in the media-saturated sixties with Macha Méril in a role that was clearly meant for Godard’s wife and longtime muse Anna Karina (they were separated at the time) and it channels Godard’s feelings at the time. Like Karina, Méril’s Charlotte is beautiful young woman who is married to an older man and having an affair with an actor. The film opens on a montage where Charlotte is reduced to parts—legs, arms, back, lips, midrift, isolated glimpses of the naked female suggesting those erogenous zones that could not be photographed in a mainstream feature film—caressed by her unidentified lover. It’s shot in creamy cool black-and-white by longtime cinematographer Raoul Coutard and the strikingly handsome formality is both erotic and removed, suggesting a physical intimacy and an emotional disconnection even in even the most intimate scenes of lovemaking and pillow talk.
Charlotte has no close friends (at least that we see), lives in a sleek modern apartment devoid of lived-in warmth, and shrinks from the touch of her pilot husband Pierre (Philippe Leroy). He’s an intellectual with a condescending attitude and she’s more comfortable living in the moment than grappling with history and memory, which becomes all too apparent in their uncomfortable post-dinner dialogue. In between the lovemaking and the conversations, Charlotte discovers she is pregnant. She doesn’t know which man is the father
[Originally published in Movietone News 39, February 1975]
Belledejour is a circular film, curving its way surely and urbanely through fantasy, memory, and whatever reality one can distill from Buñuel’s surrealist solution. Probably the first bone of contention among critics of the film is how much reality, how much fantasy, and where each sector is located in this suave Buñuelian landscape. Depending on the reading, Catherine Deneuve’s Séverine/Belle de jour may have fantasized the whole of the film with no anchors in reality, she may be engaged in an act of exorcism which finally leads her to a kind of normality, or she may have ultimately ruptured the fragile barriers between her conscious life and the world that shapes itself out of the darkness behind her brain. Whether Buñuel is hypnotist or mesmerizer is moot; whether he has plunged his heroine into the darkness of insanity or caused a sunrise, a coming to terms with reality, is also open to question. Considering the bland banality of Séverine’s “reality,” itself a kind of madness which Buñuel has never ceased to send up with a discreet but nonetheless devastating charm, can acceptance of such a life be considered enlightenment? Her fantasies may be kinky but they’re certainly more fun, more richly devised and experienced, than anything that home, hearth, and hubby can provide. Perhaps what Buñuel has mesmerized Séverine (and us) into is a serenely crazy delight with the complete dissolution of distinctions like reality and fantasy into a rich warm soup blended of both. Buñuel knows what kind of spell movies may cast, and that we as viewers are not unlike Mme. Anaïs’ clients who buy the opportunity to frame and move and light their most private, cherished fantasies. Like Séverine, we turn from the peephole and exclaim in righteous disgust, “How can anyone sink so low!,” a half-smile of perverse fascination playing about our lips. We should not feel diminished for all that, for Buñuel’s discreet and amiable charm is all-encompassing; he subjects no one’s fetish to contempt, only to the goodnatured amusement of an old roué who is surprised by nothing, but is endlessly delighted with the conventions of bourgeois perversity. Consequently, we do not move from scene to scene in Belle de jour impelled by a sense of urgency that Séverine “get well” or go crazy with a vengeance; rather, we are satisfied with permission to participate in the picaresque sexual adventures she either fantasizes or realizes in her pilgrimage from neurotic innocence through exotic sin to that ambiguous endgame played within her mind.
The Cat O’Nine Tails (Blue Underground) Deep Red: Uncensored English Version (Blue Underground)
It’s official: Blu-ray has redefined my home repertory schedule. DVD is the format of home video debuts and rarities unearthed, but the Blu-ray release calendar has become my guide for revival screenings of films not seen in years, maybe decades, and sometimes for classics that I never got around to seeing in other forms.
Thanks to Blue Underground, Dario Argento’s number has been coming up with some frequency (see my review of Inferno here). This month, two early Argento gialli (that’s plural for giallo) debut on Blu-ray, neither of them among his masterpieces but both showing a young director exploring the possibilities of play within genre filmmaking and perfecting his technical skills and expressive talents. I reviewed the English language versions of each film, in my first viewing of the films since Anchor Bay first released them to VHS at the end of the nineties.
The Cat O’Nine Tails (1971), Argento’s second feature, follows up his directorial debut The Bird With the Crystal Plumage in genre, style and “animal” theme (stretched into a trilogy with Four Flies on Gray Velvet). In Bird, Argento explores, pushes at and plays with the mechanics of suspense and murder mystery spectacle in a psychodrama thriller (an uncredited adaptation of Fredric Brown’s “The Screaming Mimi”). Developed with novelist and screenwriter Bryan Edgar Wallace, one of the godfathers of the German “krimi” genre of gruesome body-count murder mysteries, flamboyant killers and creative murders, with stylistic inspiration from Mario Bava’s elegant dances of death. The Cat O’Nine Tails continues down the same twin paths, but this time he also starts to play with the conventions and tropes of the genre, not defying or overturning them, simply bouncing them around with buoyant sense of play as he turns them into opportunities for style.
James Franciscus (under a blonde dye job) is a reporter chasing down a mysterious break-in at a genetics lab, where nothing was apparently stolen, and Karl Malden is a blind man who overhears a conversation that appears to tie in to the mystery. Their meeting is a narrative contrivance to team them up (what reporter rushing to a scoop would take the time to explain what’s going on to a blind bystander?), the hot-shot reporter with all-access to crime scenes and police officials and the retired journalist, blinded years ago, who spends his days caring for an orphan and solving puzzles. Malden comes off as the cheerfully amateur detective of British cozies, smiling as he checks off the clues and bounces ideas off of Franciscus, himself a fairly animated and buoyant presence. Only when the little girl is kidnapped does Malden falter, the fun tipped into danger and the stakes become personal.
There’s nothing unique or daring in this handsome CinemaScope production, and little of the bravura flights of style that will define his later, more flamboyant exercises in color and camera movement and the fine art of murder. Even the spare score by Ennio Morricone looks back to traditional Italian horror, which Argento left behind for the pounding prog rock scores of his subsequent films. But he has a flair for juicing up characters with personality quirk (not subtly or even all that convincingly, but with a certain sense of fun) and he keeps the film moving ahead or bouncing around characters as they dole out the exposition and a mystery that twists and turns with almost arbitrary direction.
The beginnings of his trademark style can be glimpsed in the POV sequences of the killer at work, begun with a close-up of the eyes so tight all you see is iris and whites and continuing through the stalking and dispatching of characters intercut with the fragments of murder mosaics, the most obvious evidence of his debt to Hitchcock. The shower scene from Psycho is his touchstone, only Argento’s mini-symphonies of murder aren’t about fooling viewers into thinking they’ve seen more than is actually onscreen. He uses the discreet shots to foreground the assault on the flesh and the shedding of blood and impress audiences with his spectacle. A body pushed in front of a speeding train is punctuated with a close-up of the engine colliding with the skull and the freefall of another victim is just the prologue to the desperate grasping for purchase before the crush of impact, complete with the crumple of the body. It’s not exactly sadistic—Argento is like Malden’s character in the movie, delighting in the design and execution of his set pieces like a puzzle—and he doesn’t revel in their suffering. It’s all rather dispassionate, a matter of cinematic engineering.