Baise-moi - Fick mich!

I've seen "Baise-Moi" on DVD several weeks ago. The movie made also a short run in Adult Theaters here in México City as "Viólame!" but I don't think it scored high. I enjoy a "pretty strong stomach" and, with the years passing by, I became more open-minded and tolerant (thank God something good comes also with the aging process...). The movie contains a graphic rape sequence, a few more explicit sex scenes and "tons" of gore and violence, without being able to deliver a message. Perhaps it was supposed to be just a provocative movie but, the violence in particular, remains almost unexplained and gratuitous and, therefore, it can only be considered pure exploitation. Graphic depiction of violence and sex in movies absolutely don't offend me (on the contrary, if well done and essential to the plot, I surely like it), but I wasn't very impressed by this one. I mostly agreed with the comment posted on IMDb so, I didn't feel any interests in posting another comment, since there was not much else I could say. However, last week, I heard on the radio, while listening to a variety program which deals with music and movies, that on January 28th, Karen Lancaume aka Karen Bach, "Nadine", one of the two main characters of this movie, took her own life at age 31. A suicide news note is always a sad note but the suicide of a person who has gained certain notoriety, usually (and unfortunately) stirs-up a process of exploitation based on bad publicity and I wouldn't be surprised at all, if the movie would make another run in theaters and the sales of the DVD would benefit of an important boost. How sad! Poor "exploited" Karen; she surely was a pretty lady and perhaps even a fine person but, at age 31, in spite of being still a young woman, she already passed "prime-time" which for an "Adult Movie Star" (that's what she was whit 28 porn-vids and one main-stream movie, also classified as porn, in her résumé), is just about around that age. The porn industry system is allegedly very cruel and burns-up those girls, who decide to go for it, very quickly. The competition of new young "hungry" starlets perhaps became unbeatable and unbearable for her or else... We shall never know why she did it; we can only guess she was profoundly unhappy and severely depressed. I wish (and I hope I'm not the only one), she has now finally found the peace and happiness she couldn't find in life. Karen: "REQUIESCAT IN PACEM"!

Amidst all the controversy about the porno-style sex scenes, random acts of violence, liberal depictions of drug use and so on it seems the central question has been lost - is Baise-moi actually any good? Well, the answer is "No - not really."

It starts well enough, nicely setting up the two main characters with some very well-acted, almost documentary-like scenes. Well, I say nicely - the word seems hardly appropriate when these scenes include Manu and another woman suffering a genuinely harrowing rape while Karen prostitutes herself, along with a liberal smattering of general sex, violence and substance abuse. Nevertheless, the opening is well-played out and directed with surprising flair (especially considering that this is the debut movie for both its directors).

However, when the plot kicks in proper and the two women end up on the run together the film's interest begins to drop fast. Oddly, the further out of control the two protagonists get the less exciting the story is - it gradually becomes a mere retread of countless other low-grade revenge/exploitation movies, simply with a slightly more porno feel. By the denouement, to be brutally honest, I was bored stiff (a stiffness which is nothing to do with the pornographic element of the movie, I assure you).

One of the main problems is the inherent lack of any kind of point. The beginning of the movie seems to be setting the film up as an analysis of our responses to violence - of how an upbringing in a cruel and violent environment can manifest those tendencies in ourselves - and also as a commentary on the parallels and links between violence and the act of fornication. However, it completely fails to deliver on either of these promises in the second and third acts and, increasingly, one gets the feeling the film's only reason for being is that it thinks it is cool. Unfortunately for Baise-moi, it isn't. It's a wasted opportunity. It's only real use is as a shock tactic, but even this is wasted on anyone who's seen a porn film - the violence side of it is no worse than is seen in any number of straight-to-video action/thriller flicks.

Ultimately, all there is to recommend Baise-moi is a couple of impressive acting performances, a few amusing lines of dialogue and a thought-provoking 20 minutes at the start. The rest, sadly, is nothing to get excited about.

Baise-moi is the second example of the recent French Graphic Rape Wave of cinema. Like a skanky French Natural Born Killers but without the talent, irony or indeed entertainment, the heavy-handed symbolism and maddening acting should have you turning off after the first 40 minutes. You continue to watch however, mainly though a fascination as to how far the director is willing to push the boundaries of good taste in order to convince us of his point. Something to do with society raping people and by-products of the system, a reflection of the perversity at the root of civilisation, monkeys with guns and Girl Power.

Joining the sensational release of Irreversible, with its centrepiece a nine minute rape scene, it could look to some that modern French cinema had found itself in a quandary, desperately seeking its next big theme in the rapidly thinning file of the last taboos. Thankfully, L'Homme du train dispelled those fears,at least for now. And maybe just two films don't make a wave, perhaps just a ripple.

However, nothing changes the fact that when the closing credits finally arrived, I was angry. Because it was rubbish. Not a patch on the glory of La Haine which dealt with a similar rage, but with far more heart and intelligence. Baise-Moi also has the worst soundtrack ever. I've got to stop wasting my life watching all these terrible films.

I first saw a poster advertising this film on a street in Helsinki, Finland in June of 2000. What caught my attention was the proud proclamation advising all readers that the movie, although itself French, had been "Banned in France". Upon returning home to New York, I discovered that one of the "Art House" movie theaters in the City was screening the film, and so (with my Finnish fiancee) decided to see what all the fuss was about. Boy, did we ever.

From the comments read here, and the reviews I knew the movie was violent and sexually explicit. Not necessarily offended by either of these two conditions, I went with an open mind to see what had perturbed the sensibilities of our Gallic cousins. Presumably, as anyone who is reading this will know, the story involves two women who embark on a crime and murder spree in France (the movie has English subtitles). The resemblance to "Thelma and Louise" however, ends with that; the sex is unusually graphic (and in copious supply) as is the violence (a lot of stomping to death, and a lot of blood and other organic matter splattering after bullet impact).

On an intellectual level, one could make the case that the film's very essence is the relationship of sex and violence (as manifested by the only sex these women know: one is a small-time prostitute, and the other has earned money from time to time by performing in pornographic films. When they, during their descent into crime and murder, have the upper hand over their sexual situations, they react only with the same violence and brutality that they themselves know and understand. It is important to note, however, that the victims of their rampage are not only creepy men interested in creepy sex, (of which there are several)but innocent passersby, a woman at an ATM, for example, as well.

I myself do not really understand why the repeated "porn-movie" shots were all that necessary, (except to depict the physical contact as cruel, unpassionate and debased) and the unrelenting gore did get rather tedious after the first few violent spasms.

It is a coarse and crude movie, but in fairness, it is dealing with coarse and crude people and equally unpleasant circumstances. From one point of view, the lives of the French underclasses is explored, and it's pretty grim; a travelogue for France it definitely is not- perhaps that's why the French banned it.

Why are people so outraged by BAISE-MOI (which literally means F**K ME, the English language title is a travesty) ? Is it because of the explicit sex (far more fleeting than that shown in any porno tape freely available at most corner video shops), the stylized ultra-violence or the combination of the two ? Unlike some films, this one doesn't in any way glorify violence though, it merely shows the sad inevitability of it as far as its two main characters are concerned.

Both Nadine (Karen Lancaume aka Karen Bach) and Manu (Raffaella Anderson) routinely endure violation both in word and deed on an almost daily basis as sex workers, prostitute and part-time porno performer respectively. The gang rape of Manu and her drug-addicted friend shown here is totally different from the clichéd they-may-protest-at-first type of rape scene encountered in some adults only features. While the other girl cries and screams throughout (and is ever more horribly abused because of it), Manu adopts a facade of indifferent resignation, cleverly robbing her rapists of their sadistic thrill. Rest assured that the scene goes on a lot longer than anyone would want it to and that it is very painful to watch, which is the whole point of it.

When Manu and Nadine meet and embark on their violent road trip, fully aware that they ultimately can't 'get away with it', sex becomes a source of liberation to them. Like so many guys on the lam in any criminal buddy movie you can think of, they take what they want, when and how they want it, casually discarding (not always violently) their casual partners post-orgasm. One of the most common accusations at porn's address is that the explicit sex scenes dehumanize the people performing them, but here that could not be further from the truth.

Former hardcore actresses Lancaume and Anderson are both terrific in their parts and the sex they have (and, yes, it is 'real' sex) enhances their characterizations, rendering them more complete. The 'cinema vérité' rawness of the digital video format in which it was shot, interrupted by sudden flashes of style when violence erupts (an artistic decision to give the viewer a feel for the power and pleasure the women derive from their acts as an escape route from their drab lives), draws the viewer uncomfortably close to the action. Again, that seems to be the point.

So don't let the negative publicity fool you. BAISE-MOI is a rare film that utterly achieves what it sets out to do and it bodes well for debut cinéastes Despentes (author of the sulfurous source novel) and ex-porn star Coralie. You may love it (as I obviously did) or you may hate it, but this is an important film that no one is likely to ever forget, no matter how hard they might try.