La Vénus à la fourrure

The short plot synopsis for this film is so misleading. But you know it is Polanski, so naturally something, probably strange, will begin to transpire.

And strange it is. This actress arrives covered in rain, hours late, and is not on the audition list. Yet, with much persuasion, the director, reluctantly, agrees to do some lines with her, and after she starts he begins to take her seriously. He stops thinking she is a lunatic.

Suddenly he picks up the script and they are engaged in the lines. But as they rehearse the lines, they argue over trivial matters like the placement of one of their characters, to the actresses' perceived misogynistic take on the book.

But as they argue, something pulls them back into the story, and they are suddenly and instantly back in character. It really is a trip.

From this point on, there this a story within the play unfolding, and it begins to get very strange as you watch them rehearsing, then suddenly you realise they have actually been arguing for the last minute! It keeps you guessing constantly, and as they explore the subject matter further, the blurring of the play and reality increases as they both become more passionate about the subject matter. And into Polanski territory the film goes.

This movie is easily the best film he has made in the last 30 or so years. It reminds me of The Tenant, it has that sorta of weird, surreal and creepy vibe.

Kudos to Polanski, who, much like in Carnage, makes full use of the single set, in this case a small theater, with the final act of the movie actually taking place on the stage of this theater itself, which adds to the visual niceties. The camera is constantly moving around the theater, not once was I bored as the dialogue was so intriguing, funny in a dark way at times, but also pretty effed up, which I guess is due to the original text, and who does effed-up films better than Polanski?

I'm not sure of the running length, but this film felt like it was an hour long. The ending was incredible, and because of the deft handling of the dialogue, the switching between play and reality, this is something I want to watch again immediately.

People think he has gone senile? This is easily his best movie since The Tenant.

www.epilepticmoondancer.net

The movie is set in an empty theater during a night storm. Vanda wants to audition for the female role in the play "La Vénus à la fourrure". Thomas, author and director, reluctant at first, end up being dragged by the ambiguous personality of the woman. She seems out of place: dressed inappropriately and easy-minded but she is just perfect for the role. Vanda and Thomas start rehearsing and they interrupt each other to discuss the characters and the storyline. Vanda repeatedly accuses Thomas to have chosen a sexist subject. The setting estranges both the two characters and the public, also with the help of the screenplay's rhythm, which alternates reality and the actual play.

It's a movie that opens up a great number of themes regarding the relationship between man and woman.

I loved this movie. It opens with the "adapter" telling his fiancée on the phone that "all the candidats are pretentious who speak like : "oh, it's like, you know, just awesome, real f** stylish or something (oh c'est genre grave stylé quoi...)" The heroine witnesses the scene by the cracked door and decides at that moment -at least that's what I thought- to teach him a lesson. He who believes in his superiority will soon understand that it's not the case. This is a movie about words, "intellos", gender issues, artistic creation and interpretation, masochisme and so on...

"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.

"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