La bestia

OK...this one's a weirdy....Honestly, I can't tell you all the inner plot-points of THE BEAST, cuz I started losing interest when nothing happened during the first 45 or more minutes - but just wait, it definitely does "pick up"...

The plot involves something about a monster in the woods that some French aristocrat chick screwed back in the day. Eventually you see "THE BEAST", which looks like a guy dressed in a giant rat-bear costume with a horse cock attached to it. The scene takes place with the aristocrat woman running around the forest looking for a lost sheep. The sheep ends up dead and the woman gets scared. THE BEAST pops up, rapes the chick and shoots 400 gallons of spunk all over her. Eventually the chick starts to enjoy the beast's "attention" which results in some pretty novel simulated sex scenes, including an unnervingly erotic foot masturbation scene where the woman jerks the beast off with her feet while the monster shoots more huge loads everywhere (yeah, I've got a twisted foot-fetish - so sue me....)...The whole film is told in flashbacks and long-winded dialog scenes that tended to be a bit tedious. A "shocking" but predictable ending concludes this extremely strange film...

THE BEAST is a film that I find kind of hard to rate. The cinematography itself is quite eye-catching and the sets, costumes and locations are elaborate. The plot is a little convoluted and seems to take it self awfully seriously for what ends up being such an unintentionally hilarious film about a chick boning a rat-bear. A good bit of tits, ass, and hairy 70's French bushes to help make up for the dull first half of the film. I have to honestly say, that if it weren't for the graphic scenes of the BEAST spackling all over the willing maiden, this film would have been a real bore - that is unless you like dull dialog and some graphic horse sex (the beginning has a VERY up-close and personal scene of two horses boning, including a pulsating and spunk covered female horse vagina...YUM!!!). But the BEAST sex scene is so strange and such a refreshing change from the rest of the film, that I have to say that those scenes alone make up for what otherwise would have been a real snoozer. I have to recommend this one to anyone who thinks they've seen it all - the BEAST rape really is out-there and something to be witnessed. Also recommended to any fans of 70's/80's sleaze films - this one ranks pretty high with them. Worth a look for you sick rat-bear beastiality lovers out there (like me)...8/10

Borowczyk's notorious film begins with an apt 'exclamation mark' - the erect penis of Mathurin's stallion, the shape of which fills the screen as it goes to stud. This film, described by one critic as the "most erotic film ever made" is full of such fleshy exclamation points: those of horses, of the virile servant Pierre, or the eponymous creature. This is a film whose explicit depiction of bestiality kept it off British screens for a quarter of a century, although an emasculated version appeared a few years back on video under the title of 'Death's Ecstasy'. Those who are used to Borowczyk's hothouse mise-en-scene will know what to expect as the director characteristically combines matter of fact staging with lustful fantasy, in a way that only a east european sensibility can carry off.

'The Beast' appeared approximately half way in a career spanning art house successes such as 'Blanche' (1971) to the creative nadir of 'Emmanuelle 5' (1987). Most of his films represent sensuality – especially the feminine kind - being discovered as a matter of primacy then typically, explored in erotic, private rituals. The urgency at which females seek satisfaction in these works is shocking or refreshing according to one's viewpoint. Borowczyk's heroines, when apart from their lovers, typically pleasure themselves quietly in chambers, as in the 'cucumber' scene in ‘Contes Immoraux/Immoral Tales' (1974)(A film in which the content of the flashback in here was originally to have appeared). Although they take their fulfillment, their secret fantasies are largely unexpressed. ‘The Beast' makes explicit this process of gratification, and places sexual dreams before our eyes, most noticeably in an extended flashback sequence. This of course is done after literary precedent (albeit from a tradition typically suppressed or hidden, as in the film itself). On one level of course, Borowczyk has made a variation on Beauty and The Beast. More precisely his film has its roots firmly in the adult realm of the pre-victorian fairy tale, as well as claiming an ancestory from the verse fables which have enlivened French culture, most famously by La Fontaine.

To be honest, much of the plot of 'The Beast' is forgettable, a dramatic concoction which serves a set-up for the director's impending erotic tour-de-force. The modern story is a comedy of sexual manners, contrasting the elegance of life in the chateau with the moral squalor and hypocrisy of its inhabitants. Pierre's repeated, frustrated dalliances merely anticipate the grand inter-species coupling to come. The Marquis' plans, his shabby chateau and brutish son, the forced wedding provide so much window dressing, as stereotypical as the tales that inspired them although Mathurin (played by a suitably glum Pierre Benedetti) comes across as sensitive as well as animal. Standing out without apology, the real concerns here are like the phallic column-stump prominent in the chateau grounds, the images remaining with the viewer after the film is finished exactly those which the director intended – the irrational and sexual.

Although nominally set in the twentieth century, the action of the film could with little difficulty be transposed to earlier times - the middle ages say, where the director has found inspiration before. Apart from the telephone and car, very little intrudes from the modern era. The chateau, full of sharp sounds and still silence, old wooden floors and hushed servants, has an almost institutional air. The presence of the clergy in the house paints a religious-like environment, and one where correctness and arousal go hand in hand - a scenario familiar from such other Borowczyk films as 'Interno di un convento/Behind Convent Walls' (1977). The heated harpsichord music of Scarlatti with its strong rhythmic pattern and run of impassioned semi-quavers, adds to the impression of sexual emotions scuttling free beneath the surface. Outside, the overgrown, rambling grounds have a timeless quality about them. One can almost imagine Little Red Riding Hood skipping through the trees on an errand.

Apart from the baldness of its sexual images, the reason why 'The Beast' provoked such an uproar when first released is because it is an honest, adult work. It deals with human sexuality real or imagined, with complete open handedness, admitting the pretend life without hesitation. The fantastic elements of Lucy's masturbatory day dreams, seen at length and so vividly after she reads the diary, should alert the viewer to that. Mathurin is more than just the other half of the Beauty and The Beast equation. He is symbol-made-concrete of the sexual fantasies she (and by extension, we) enjoy. The 200 year cycle of the beast's reappearance truly marks ‘the return of the repressed', and Lucy's flashback the liberation of desire. More than this her enjoyment of lustful fantasy implies how much we should become the honest brokers of our imaginations. The original view of the BBFC not withstanding, the result is then that any notion of pornography fades away in favour of recognising our true natures. Unfortunately, as Borowczyk retreated into more commercial projects, this straightforwardness disappeared to be replaced by exploitation. As a result ‘The Beast' remains as his most striking piece of film making. After 25 years after it was made it still creates a memorable impression.

Notorious for more than a quarter century (and often banned), it's obscurity was its greatest asset it seems. Hey, it's often better to be talked about, rather than actually seen when you can't back the "legend" up with substance.

The film has played in Los Angeles a couple of times recently, and is available on home video, so that veil is slowly being lifted. While there is still plenty to offend the masses, it is more likely to bore them, than arouse much real passion. Except for a gratuitous and protracted XXX sex scene between a pair of horses ("Nature Documentary" anyone?), there follows nearly an hour of a dull arranged marriage melodrama.

Once the sex and nudity begins, it is a nonstop sequence involving masturbation, a looooooooong flashback to an alleged 'beauty and the beast' encounter, and a naked woman running around the mansion (nobody, even her supposedly protective Aunt, seems to even think of putting some clothes on her!). On video, I guess you can fast-forward thru the banality, but it's not really worth the effort. The nudity doesn't go beyond what is seen in something much more substantive such as Bertolucci's THE DREAMERS.

Try as one might to find some 'moral' or 'symbolism' in the carnality, I doubt it's worthy of anyone's effort. Unfortunately, for LA BETE, now that you can more easily see the film, the notoriety of something once 'forbidden' has been lifted. And this beast has been tamed.

NOTE: This film was recommended to me by Zachary George Najarian-Najafi for "Steve Pulaski Sees It."

Walerian Borowczyk's La Bête is a seriously grotesque film, but unless you have the patience to make it through about an hour of glacially paced exposition, you won't realize why. In terms of going from zero to one-hundred in terms of plot-escalation, La Bête takes the cake with positioning itself like an ordinary, albeit slightly off-kilter, melodrama about an arranged relationship in a close-knit family, before becoming a zoophiliac's ultimate cinematic desire.

The story opens following the death of a businessman named Philip Broadhurst, who leaves his estate to his daughter Lucy (Lisbeth Hummel) with the only condition being that she be married to a man named Mathurin (Pierre Benedetti) by the brother of Pierre's uncle within the next six months. Despite Mathurin's mental deficiencies and deformities, Lucy still agrees to marry him, with her and her aunt Virginia (Elisabeth Kaza) taking a trip to the Pierre's brother's farmhouse. At the farmhouse, Lucy learns of a two-hundred-year-old fairytale about a beast living in the woods adjacent to the farmhouse.

For about an hour, we endure ostensibly neverending conversation between this enormous family-to-be, none of it really amounting to anything other than frustration due to the lack of human interest and a great deal of pointless sermonizing about family and the marital bond. It isn't until the hour mark that Borowczyk, also the screenwriter here, flips the switch and turns La Bête into something cruelly twisted. Without giving too much away, for much of the final thirty minutes of this film need be experienced, the film involves a dark, twisted dream sequence (or maybe not) of Lucy's intimate, sexual relationship with the aforementioned beast.

Borowczyk doesn't hold back in what he wants the audience to see in La Bête, so much so that he's willing to show us a bear ejaculating and performing cunnilingus on Lucy, resulting in Lucy enduring a series of bloody scratches. No taboo in beastiality is left untouched as the film details some of the most wicked sexual perversions you're likely to see come to life on screen in your life. Me being so young, I feel I have a ways to go, which only works to keep me up at night even more.

As an art film, La Bête is rather tasteful up until its final act. The film is nicely shot, with numerous, intimate camera angles taking the place of the predictable scuzzy aesthetic one would expect this film to have, in addition to having several nicely decorated sets and some solid exterior shots of the forest where much of this action happens. As a pornographic film, La Bête is most artful in a sense, but the porn itself is anything but erotic. It almost feels like shock value, especially when we must endure numerous closeups of a gigantic bear ejaculating repeatedly.

La Bête is a curious oddity, destined to gather dust on the seldom surviving, family-owned VHS stores where ultra-weird, almost unspeakable cult classic, and some just stopping at "cult," films precariously placed on towering shelves. I can almost envision an ordinary, black VHS tape with a color-faded, peeling white label with "The Beast" written in pencil, discolored and sun-damaged to look like simple hashmarks, sitting on the shelf looking unassuming and innocent but bearing quite the visual wallop. That's precisely what La Bête is; a visual wallop not for the faint of heart. I'm sure Lucy herself would say something similar.

Starring: Lisbeth Hummel, Pierre Benedetti, and Elisabeth Kaza. Directed by: Walerian Borowczyk.

Another variation and improvisation on the famous and beloved children tale, La Bete (1975) aka The Beast tries to imagine (in very graphic and what may seem offensive and disturbing but in reality rather silly and comical way), what actually happened between Beauty and the Beast? I am amused by many reviews and comments that seem to look too deeply into this movie. I would not go so far as saying that it is a serious and dark exploration of such subjects as sexual frustration, longing, fulfillment, or satirical criticizing of the catholic Religion. I would not even call it a horror-erotic movie. It's more of the parody on all genres it touches or mentions even though it's got some shocking moments in all departments that sure will stay in your memory.

The long (way too long) scene between an Aristocratic young woman and the supposedly horrifying but the most laughable I've ever seen in the movies creature with truly impressive...well anatomy, is set to the clavichord music of Scarlatti and is hysterical. My husband and I both laughed out loud at the exaggerated details of the encounter. The moral of the scene is - beauty can and will defeat the monster. The question is - who is the target audience for the film? For an erotic picture, it is too verbose; for an art movie - it's got too many jaw-dropping scenes of sheer madness and I'd say an abrupt ending. IMO, the film creator did not mean for it to be a serious drama. As a parody of art house/horror/erotica, it is funny and certainly original. Have a good laugh and try not to look for some deep meaning. This story of the curious Beauties and the lustful Beasts certainly is not recommended for co-viewing with the children. The opening scene that may shock an unprepared viewer much more than the infamous scene of bestiality can be successfully used On Discovery channel for the program like "In the world of animals - mating habits and rituals of horses".