"Charbovari"

Three films on which I'm going to write short notes these days:

Roman Polanski, who will probably never get rid of this sale histoire until his death, has been arrested today in Switzerland, which collaborates veri nicely with American justice administration. the new category of wtf, indeed.

The Tenant, a film which I saw 1st time in my childhood in TV and was fascinated ever since, found in a whole at some Japanese website

go here

Chabrol's apparently classic adaptation of Madame Bovary, in 15 parts on youtube, with this delightful "Charbovari" scene:



Marat/Sade by Peter Brook, famous adaptation of Peter Weiss play



and Wajda's Danton, one of my fave by this too often humourless director, shoot during the Martial Law in Poland, great cast, music and interesting interpretation:




And I'm still thinking about Eustache. A strange, cameral, even performative movie by Eustache, Une sale histoire, is the one that sort of encapsulates all the anxieties and despair of this director. With a wonderful performance by Michael Lonsdale, who tells the title "dirty story", interpreting a man addicted to pornography and a voyeur, who actually finds himself detesting women. In a arresting monologue he pushes the boundaries of the story over and over

go here

here some lucid quotation from Senses of cinema:

In both these early shorts, relations between the sexes is a matter of resignation and empty distraction rather than connection or genuine feeling-there's no love or tenderness, only groping and conquest. For all Jean Nöel-Picq's storytelling skill and wit and Eustache's exhilarating experimentation, Une Sale Histoire expresses the same conviction. Nöel-Picq clearly gets a kick out of pushing his story to the limits of what is socially acceptable, testing his audience, daring them to be offended. But that's not to say that he doesn't mean what he says. After spending hours and hours at his post before the spy-hole, he observes that "all the hierarchies about the body had been overturned" so that he had come to believe that "the mirror of the soul is the pussy," and this seems to me to be as blunt an expression as possible of the state to which the relations between the sexes, in Eustache's view, have been reduced. The frankness in Une Sale Histoire or The Mother and the Whore is not a sign that Eustache condones this new freedom-he's not enthusiastically pushing the envelope even further but rather wallowing in the human wreckage he sees it as having produced. It's not that sex has been elevated to a spiritual level but that religion, morality, and love have been reduced to the physical plane. Later in Une Sale Histoire, Nöel-Picq complains that he's sick of taking women to movies, talking to them, learning about them-"That's the part I hate most." It's not that "the mirror of the soul is the pussy," but that the pussy is the soul now, as close to it as most men care to get anyway. Eustache seems to believe that sexual liberation has drained male-female relations of any mystery and emotion they might once have had, that sex has become so central that a great emptiness has washed over society.