A Última Amante

Although I've seen several of them now, I still don't know if I actually LIKE Catherine Breillat films. Her films are a strange contradiction: On one hand, they contain a lot of pretty graphic sex and always feature some of the most attractive actresses in Europe (and this one with Asia Argento and Roxanne Mesquia is certainly no exception). On the other though, they are often very depressing and told with such a harsh feminist bent that they probably make most people (well, most men anyway)feel more like castrating themselves than getting turned on. ( I actually haven't even seen her most notorious film, "Fat Girl", but after the truly depressing experience that was the supposedly very similar "36 Fillete" I've never wanted to).

You would expect then given Breillat's typical misanthropic bent that when she made a French costume drama like this one, the liaisons would be even more dangerous and the intentions even crueler. This is actually a surprisingly soft-hearted film though where all the main characters are pretty likable and sympathetic (at least in some ways). The only typically harsh Breillat touch is a couple having frenzied sex next to the funeral pyre of their dead daughter. The basic story involves a handsome young rake, who is about to marry a beautiful young heiress (Mesquia) with the blessing of her jaded-but-wise grandmother (who, since this is set in 1835, is herself a battle-scarred veteran of the original pre-revolutionary "dangerous liaison" era). He is unable to give up his long-time mistress, however, a social-climbing Spanish divorcée (Argento) with whom he has had a passionate ten year love-hate relationship. All the acting is very good and the characters believable (although you do have to wonder why a 19th Spanish noblewoman would have a tattoo on her butt). My only real complaint was that it was about a half an hour too long and the climax was pretty anti-climactic.

If you like either French costume dramas or typical Catherine Breillat films, you may or may not like this, since it ends being very different than either. It's not too bad though.

Une vieille maîtresse (2007), adapted and directed by Catherine Breillat, was shown in the U.S. with the title, "The Last Mistress." This is a period film, set in early 19th-century France.

The basic plot is a love triangle--Fu'ad Ait Aattou plays the young aristocrat, Ryno de Marigny, who wants to marry the virtuous young woman, Hermangarde, played by the elegant Roxane Mesquida. Asia Argento plays Vellini, a highly sophisticated courtesan, with whom de Marigny has been having an affair for ten years.

The film is filled with beautiful women and lots of sex, but not much else. de Marigny doesn't seem all that desirable or interesting to me, and I didn't buy the plot line that Vellini simply couldn't let him out of her life. It's not that prostitutes can't fall in love, but it struck me as unlikely that this prostitute would fall in love--and stay in love--with this client.

We are supposed to understand that sexual values and attitudes are shifting at this time, and women are becoming liberated from the assumption that they can only be desired, but can't have desires themselves. Maybe so, but I think that justification was tacked on to a film whose raison d'etre is the display of lovely female bodies.

This movie was shown at the excellent Rochester High Falls International Film Festival. Most of the action takes place in drawing rooms and bedrooms, so the film will work well on DVD.

Greetings again from the darkness. I always get a kick out of the French cinematic view of love. Of course, there is always some single person we are meant for ... though endless lovers are expected. Somehow there is a soul mate and we always find that person not matter the pain caused to ourself or others.

Director Catherine Breillat uses the transition of France from the late eighteenth century to the early nineteenth as the setting for this tale of "love" among the French upper crust. A cheap plot device - the ultimate detailed confession - provides the full guts of the story, both background and foreshadow.

What made the film inaccessible for me were both lead actors, especially Asia Argento as Vellini (the last mistress). I just didn't find these people likable, whether together or apart. On the other hand, I did enjoy Michael Lonsdale as de Prony, and his wonderful dialogue and delivery.

Mostly an uneventful couple of hours with no surprise ending at all.

Last Mistress, The (2007)

*** (out of 4)

Libertine Ryno de Marigny (Fu'ad Ait Aattou) is about to marry into a rich family but must explain to his soon to be wife's grandmother why he has spent the last ten years with the same mistress (Asia Argento. The man must explain the two's connection and he must then face the fact that he won't be able to see her again or if she will let this happen. Breillat has become one of my favorite directors since seeing FAT GIRL several years back and she continues her success with this love triangle that certainly has a lot more style than substance. In the end, I'm really not sure if this movie tries to say anything other than that men are worthless pigs but if that's all there is to say then I'm alright with it because this is a beautiful film to look at and we're given some fine performances to watch. Argento is the one who really stood out for me and this is certainly the best I've seen from her. She's usually hit and miss (especially in her dad's movies) but she nails all the right notes here and delivers a full character. I really felt Argento hit all the dramatic notes just right and I think she did quite well in the more emotional scenes at well. There's a bizarre sequence in the desert where she really gets to show this off as well as mixing it in with her sexuality. Being a Breillat film, you know there's going to be quite a bit of sex and nudity. There's plenty of both but it's certainly a lot tamer than we're use to seeing but Argento dives into it head first. There's not an inch of her body that Breillat doesn't put the camera on but this is never a bad thing as she's got a certain way to throw her sexuality around. Newcomer Ait Aattou is also very impressive as the libertine as he perfectly captures the spirit and tortured soul of this character. He and Argento work extremely well together and this is especially true during their more dramatic moments. The visual look of the film is a real treat as the cinematography is top notch as is the costumes, art design and the marvelous sets. It seems Breillat spent a lot more time on the style here than the actual substance but I don't say this as a negative thing. I'm sure some might feel there should be more meat here but I think the film balances both ends quite well and in the end we're left with a very impressive film, although no classic.

The Last Mistress, a film by Catherine Breillat, director of the hot-n-sexy (and probably X-rated if released in the 1970s) Romance, deals with the torn and frayed and wretched relationship between Vellini (Asia Argento), and Ryno de Marigny (first timer Fu'ad Ait Aattou), and how Ryno's mistress threatens his marriage to Hermandarde (Roxane Mesquida), granddaughter of a tough but very fair and reasonable old matriarch. Breillat's direction of the story, which is mostly told in flashback as the grandmother of her soon-to-be-grandson-in-law tells all about his very turbulent bond with Vellini, is sometimes a little dull and stodgy, and it drags in spots that it really should pick up in high gear.

But damn it all if it's not some absorbing times in the midst of a classic period setting among character we can relish in. Granted, Breillat likely cast Aattou for constantly having a 'sexy-man' look (somewhat akin, if you ask me, of a young Mick Jagger with ridiculously striking eyes and big lips). Argento, on the other hand, is cast perfectly, and for every bit that Aatou and Mesquida don't quite connect as husband and wife it's made up for by the total, hot connection between the real two leads. Argento is right at home with this twisted, damaged but alive and easily emotional creature, who has that tendency in French melodramas for tragedy at any moment just to get a rise. But she's also tender in surprising moments, and lets her soul bare completely in rough sex scenes (the craziest set in the desert following a very sudden death of a character), which par for Breillat are go-for-broke.

What the film may lack in really being a fully "modern" work- it feels like a lot of it is so stuck in the period novel setting that it's locked away, which maybe was the right choice- it's made up for by the stars' appeal and the drive of the torrid love affair that just won't go away. It's appealing, boring, and highly charged in equal measure.