Vícios e Prazeres

Some speculate Prince Rudolph of Austria, heir to the Austro-Hungarian throne, knew that he would be thwarted from properly ruling his vast empire. And that he would not be allowed to marry his mistress. So out of depression & frustration with his family & ministers, he offed himself & his girl. Jansco's film suggests that he was so debauched & that his girl was hermaprodite, that the Austrian police were ordered to kill him Who knows.? But Jansco found a lush villa & grounds & littered it w/ beautiful naked women and men in orgiastic mode. Easy on the eyes. for sure..

This is a fascinating historical film, created by Miklos Jancso - a highly competent director, and it is sad that it has become regarded by some as an essentially erotic work dressed up in the trappings of a historical drama. I find it hard to understand how any viewer who watches it carefully can fail to recognise that the Director was not attempting to create an erotic drama for its own sake (this would have been much easier to do free of the constraints associated with the historical theme), but had what he felt was an important message to convey through his largely fictional story. Remember that the events portrayed in this film have had a major influence on the lives of most of us. The death of Crown Prince Rudolf and his mistress in 1889, was a fundamental link in the chain of events which led to the start of the war of 1914-18, and subsequently to the development of World War II. At the time, these deaths were officially attributed by the Hapsburg government to a suicide pact which followed their recognition that the couple would never be able to marry; but right from the start many commentators (both nationally and internationally) suggested that foul play was a more probable explanation. The full story was exceedingly complex and had more twists than most detective novels, but there can be no doubt that the Hapsburg authorities attempted to conceal many of these facts, adding fuel to speculations that the Emperor himself may have been involved in some sort of plot designed to end Rudolf's illicit liaison with his mistress, Baroness Maria Vetsera. This is the story line followed in the film which suggests that Rudolf was attempting to force Franz Joseph to abdicate by gaining the support of the Austrian society of the time for a more liberal social order; and that Franz Joseph either planned or condoned the assassination of the couple in order to avoid their licentious activities continuing to embarrass the Imperial Court.

I believe it is intrinsically unlikely that Franz-Joseph would have ever contemplated the assassination of his son, the heir to the Hapsburg throne, however acutely he had been embarrassed by his behaviour. After more than six centuries of continuous rule by the same family, the Hapsburg dynasty was almost unique; and throughout Franz Joseph's long life devotion to the continuation of this dynasty had been the major driving force for most of his activities. He had little respect for his brothers son, through whom the succession would pass, and it is recorded that he never once spoke to the great nephew who was his eventual successor during the remaining 27 years of his rule. He must have been aware that his death would constitute a major crisis which the empire itself might not survive; and it is hard to believe that, whatever the provocation, he would deliberately have done anything to create such a crisis. There are at least two other more credible explanations for the assassination of Crown Prince Rudolf. Over the centuries the Hapsburg empire had expanded, more by marriage than by conquest, until it incorporated a vast array of diverse ethnic groups which became difficult to hold together after the Napoleonic wars released their tide of libertarianism and nationalism. One revolt in Hungary was suppressed, but the Empress persuaded her husband to make a very conciliatory settlement with the Hungarians in 1867 which effectively created what became known as the joint Austro-Hungarian Empire. Rudolf was also strongly supportive of Hungarian aspirations, and this antagonised many members of the Imperial old school. Some of them may well have decided to take steps to ensure that Rudolf would never succeed Franz-Joseph as Emperor. An alternative explanation for his death is supported by near deathbed testimony from Countess Zita, the wife of Emperor Karl, Franz Joseph's eventual successor who inherited the imperial throne in 1916, following the assassination of his uncle in Sarajevo in 1914 and the death of the old Emperor during the resulting world war. Empress Zita lived to the age of almost 90, dying in 1989 fourteen years after this film was produced. Before her death she recorded accounts of Hapsburg family conversations which suggested that Rudolf's death followed an approach from French authorities seeking to gain his support for an attempt to persuade Franz Joseph to abdicate so that Rudolph could introduce a more liberal regime which internationally would support the French rather than Germany. Rudolf had indignantly rejected this proposition and reported it to his father. His assassination at Meyerling followed - presumably by French agents or their Austrian sympathisers. Her account was largely ignored at the time it was first published, but three years after her death (and several years after this film was released)it was supported by late autopsies of the bodies of the two victims which showed that, contrary to the official accounts, Baroness Vetsera had not been shot but had been battered to death, and that Rudolf had fired six shots from his revolver before he died. It is interesting to speculate how this new information might have changed the message Jancso was attempting to pass on, if it had been available when the film was produced.

We are now never likely to know what actually happened; but if, like me, you do not believe Franz Joseph was directly responsible for the death of his son, you can still enjoy this film and its message that the old order will eventually have to yield to the pressures created by a younger and more virile generation. It is an important film which should be made available as a DVD, but be aware that whilst the Rudolf of the film is just a libertine who is something of a caricature, the historical Crown Prince appears to have been a well travelled, cultivated individual with remarkably progressive views who was highly regarded by most of those that had anything to do with him.

The Australian video release cover of Miklos Jancso's 1975 ode to sexual freedom and personal rebellion had it placed alongside pornography in Australian video stores when it was released in the 1980s (alongside other classics like In The Realm of The Senses and A Zed and Two Noughts). It features naked bodies moving and lying all over one another in a wildly joyous orgy. Once you watch the film, you realise this is no simple recitation of the pleasures or mechanics of the flesh.

This is a fascinating film which can be aligned for many reasons with Pasolini's Salo (they were both made almost in parallel). Both films are subversive historical studies of human sexuality and the treatment of the human body as a political object. Or more simply, the way bodies are always at the centre of the forces of power. The two films are very different - but not absolutely distinct. Both do concern the events at a distant place where sources of political and social power subvert the order of things. In Salo, however, it is an insatiable facistic power which reproduces itself through acts of abuse and murder. In Private Vice..., it is a subversive power of a less annihilistic order aiming to alter order by embracing passions and overturning the military order. Quite the opposite to Pasolini's much more bleak vision of politics in the shadow of modern forms of exploitation since WW2.

Private vice, Public Virtue follows a rebel son embracing the ideals of sexual freedom, dionysian joys such as wine and song, and the rebellious refusal to accept the orders of absent elders. The scenes where they mock the military ruler with caricatured masks as the army returns from battle is one such example. But throughout, the film seeks to alter roles and power structures. Women wield dildoes, nakedness is not the domain of women as in so many other films and sexual expression is an unstoppable force. The film is both a beautiful, utopian vision and a tale of the violent power of history.

For many, this film is pure pornography with a lot of pretension.

But, for some -'in the know'- it is a historical allegory reinterpreting the real-life "Mayerling affair," in which the Austro-Hungarian Crown Prince Rudolph and his mistress, the Baroness Maria Vetsera, committed suicide at the family hunting lodge, Mayerling, because they were not allowed to marry. The official records of the deaths were long hidden, then destroyed and the public's imagination was captured for decades to come with the mysteries surrounding the love/political affairs of the ruling society.

The film director Jancsó, having long artistic controversies of his own, suggests that contrary to this official version, the lovers were indeed assassinated by his father, Emperor Franz Josef. Rudolph and his friends were in direct opposition with the world of the Emperor on many issues and used plots to convince him that his time was past, and that it was now the moment to allow the Young&New to rise to power. Some of those plots consisted of attracting the youth of the best families in the Austro-Hungarian Empire to their castle involving them in giant orgies. Photographs were taken during these orgies and sent to the Emperor, in order to blackmail him and convince him to let the new order rule (?!). After the soldiers -led by the Austrian secret police- shot the couple, their corpses were arranged suggesting a romantic suicide pact-to avoid scandal or radical overthrow of a society obsessed with image.

In this movie, Jancsó is inventing a 'real story' in order of translating the complexities of the realities of repression and freedom into images. In it he replaces a romantic cliché with a modern politicized take on a particularly tormented historical period, but his visual language's coding brings forth the controversy that rendered this piece of his art to obscurity. The explicit use of nudity and erotic encounters of all kinds seems to be concealing the message of aspiring political freedom from an initial and superficial glance. The use of nudity is a recurrent visual element in Jancsó's art, but, while in his earlier works it was a symbol of humiliation, now it is a sign of liberation and he goes much farther than that. The mix of both sexes in wild celebration of nakedness and sex in a state of joy and ecstasy is an expression of rebellion and free will. This is in contrast with the attitudes of those in power, who seem to want to cover every inch of flesh with as many layers as possible and every act of life with prude social contacts ('In MY family, we do not have sex!'). This revolution replaces the unnatural uniforms of the army and clergy with natural uniformity of the nakedness of all-beautiful young bodies, and the highly coded social behavior with spontaneous sexuality. This alone indeed, often places the unprepared spectator at certain unease.

Due to contractual terms, Jancsó enjoyed less than usual artistic freedom that shows up as discontinuity with both, his previous and later works when it comes to editing, using of music and photography. Despite these minor artistic flaws, the film remains a powerful work, reflecting on youth movements that attempted revolutions in the 60s and 70s' Western World, bearing signs of knowing what they did not want-but being not sure of what to replace them with. Jancsó proves himself to be a lucid analyst not only of history but also of modern society. The young in this film are mistaken by hoping to make their voices heard, as silence and conformance with the social order is to be maintained by those in power - regardless the arbitrary nature of this order. One can argue that the mock-rituals of the Crown Prince are as legitimate as the Imperial etiquette, but a revolution without proper preparation is doomed to failure.

In summary, 'Vizi privati, pubbliche virtú' is a sorrowful meditation on the limits of a revolution that failed to come to life, not a pretentious porno flick - as an unperceptive observant would judge it to be. The question is ours now to answer: 'Is our society -and we ourselves- are so far removed from the puritanical world of the Austro-Hungarian Emperor Franz Josef and his obsessively clean image? '

Lots of information here in other reviews about the films historical context and ambitions, and also the directors other work and background. For me this film is from a time when film makers were not tied to mast of narrative, long lingering shots abound, with beautiful graceful composition , and the camera holding on little moments of reverie. The nudity is irreverent and celebratory , again capturing candid moments, and as one reviewer stated an almost dream like atmosphere is achieved. Also the use of diagetic and non-diagetic sound is playfully used and intertwined, with musicians playing the soundtrack itself on screen. A wonderful example of European cinema from a lost time.