La piel de Venus

Venus in Fur, adapted from a play that couldn't be more made for a play originally than if it was just actors reading from a script (no wait, they do that here, don't they) is, frankly, good but minor Polanski. It's never less than entertaining, and it has engaging performances by the director'ss surrogate Matthieu Almaric (seriously, doesn't he look like him more than a bit?) and his wife, who is so incredibly spot-on at being seductive and crazy and smart as a whip and ahead of the game, Emmanuelle Seigner.

It also has an ending that is as unforgettably deranged as its brother movie ending from the director, The Tenant. And why is it minor? For me, it just felt kind of a shallow experience, not very deep, and the back and forth motions as to who is the Dom and who is the Sub (in sex but also power terms) moment to moment gets frustrating at times. And, yes, the cinematography of course is intense and this filmmaker is nothing if not a master of having a couple of people in a room and making it cinematic for an hour and a half and change. Perhaps it just reminds one of other, greater Polanski work a little too much.

However, certainly for fans of high heels and silk stockings it's really something!

Since I had not been able to fully appreciate the recent Polanski works, this movie has been for me a big surprise. I especially disliked "Carnage" because I found it predictable, and therefore boring – and I know very well I was quite alone in my opinion, but still. For this reason, I was biased towards another movie from the same director featuring just a couple of characters secluded in an interior. But, eventually, I found "Venus" surprising and exciting (and please don't misunderstand: excitement entirely came out of surprise).

The script, apparently simple, is a jewel with many shining facets, a brilliant movie translation of a witty stageplay inspired by a meaningful and modern book. It is like a very complex choreography, a delicate and fragile thing, very easy to spoil unless the execution is perfect. But the great work of the director and of the actors have produced a real masterpiece that maintains a high level of tension and interest throughout his whole running time.

Thanks to the brilliant connections between literature, stage and reality, and thanks to the many things that remain unclear about the character's real identities and motivations, this movie sounds much more like a question than like a an answer: some kind of Rorschach spot to test the opinion of the audience about the relationships between a man and a woman, between the lover and the beloved one. Go see it with an open mind, and you won't be disappointed: even in a worst case scenario you will find an interesting piece of conversation, so anyhow your time will be well spent.

"Venus in Fur" is one mesmerizing film, the latest by controversial director Roman Polanski. This is despite having only one setting -- an old Parisian theater on one stormy night. Furthermore, it has only a cast of two -- Emmanuelle Seigner and Mathieu Amalric. There is something so vital about their one hour and a half long conversation that that is simply compelling.

Amalric plays Thomas, a stage director conducting an audition for lead actress for his play entitled "Venus in Fur." Seigner plays Vanda, an down-on-her-luck actress who arrived very late for the auditions. Vanda convinces Thomas to still give her a chance to audition. Thomas will soon discover that he will get more than what he bargained for.

Amalric and Seigner worked so well together with an electric chemistry that transcends language barriers and subtitles. I would have imagined a younger actress to play Vanda, but I must admit that the 48-year old Seigner still manages to be as sexy and seductive as Vanda should be. Amalric's character was enthralled, and so will you. Of course, director Polanski will not make his wife look bad.

This film is based on a play by David Ives, and this was obvious in the way the dialog of the characters went. It was fascinating, and at times confusing, how their conversations moved from within the play's script into reality seamlessly. For people who love the theater, this film that will grab them from the get go all the way to its unpredictable climax.

"Venus in Fur" is Roman Polanski's mostly successful screen version of the hit Broadway play with a dynamite conceit. A cocky playwright and director is auditioning actresses for a new play. In comes a flighty eccentric who he at first dismisses but who over the course of the story teaches him a little something not only about the character he wrote but about women in general. It's sort of a nightmare version of the Pygmalion myth, in which the creator's creation comes to life, but this time she's not willing to be submissive.

The film's biggest flaw is that Emmanuelle Seigner, despite giving a terrific performance, is just too old for the role. This wouldn't necessarily have to be a detriment by the time the play ends, but it doesn't make sense that she's as old as she is at the beginning before some of the play's twists have fallen into place. And Polanski opts to change the ending, doing away with the simple but effective ending of the stage version and instead leaving things on a much more ambiguous note. I preferred the more simple ending, and think it would have gone farther toward making Seigner's age less of an overall issue.

But aside from those criticisms, "Venus in Fur" is a fun romp of a movie, and probably about as cinematic as a two-character play set entirely on an empty stage could be.

Grade: A-

"She taught me the most valuable thing in the world." Thomas (Matthew Amalric)

"And what did she teach you?" Vanda (Emmanuelle Seigner)

" That nothing is more sensual than pain. That nothing is more exciting than degradation." Thomas

Roman Polanski's Venus in Fur, adapted from Leopold Van Sacher-Masoch's novel, Venus in Furs, is a two hander with a first-time stage director and adapter, Thomas (Polanski), and an actress (Seigner, Polanski's wife) trying out for a part in his play at an old Parisian theater. It's as raw a film as it is delicate.

He's at the end of a long audition day with women who don't fit the part, and she straggles in when he's ready to go, in no mood for her tardiness or her lack of sophistication, much less her bondage outfit with dog collar. This time pain hardly seems sensual, until Vanda pulls out all the personality stops by eventually auditioning him.

As in the play of life itself, nothing is as it seems; as in Polanski's other worlds, identity is a matter of power. She challenges him about his misconception of her talent (she's made for the part—even has the character's name) and proceeds to take a dominant role in acting and interpreting. In other words, the tables turn while woman takes the traditionally male aggressive role and he becomes her slave and even takes her part. When she ties him to a gigantic phallic cactus, the absurdity is painless, a testimony to imaginative stagecraft and pleasant Freud.

Polanski, never afraid to deal with strong women in his films (Tess and Carnage come to mind immediately), as well as the real-life tragedy of his wife's murder, places Vanda prominently in each of her frames; his surrogate, Thomas, even looks like Polanski's younger self. Thus, the film becomes a convoluted feminist tome while it also comments on the relationship between actors and their directors. Whatever it all may mean about Roman Polanski's personal relationships with women, it is a witty 96 minutes of repartee and gamesmanship, where roles are fluid, both with characters and actors.

The pain of his self revelations, which she forces him to see, turns out to be a pleasure for a playwright directing for the first time and facing an actress gifted and formidable. Both actors, by the way, are exemplary.

"It's 'a little love' you suggest? No, it's the power that interests you." Thomas