La femme publique

1 star.

Yes: again we are treated to a mess of histrionics, arm-flailings, neurotic marching to and fro, screaming, agonizing and despairing, with actors "method-acting" what the director must have been yelling at them at any random moment, like "Show me fear!" "Show me anger!" "Show me agony!" "Show me madness!" and what have you, resulting in a string of scenes coming from nowhere and going to no better end. We may discern some artistic and political topics of the day, but as is usual with such pretentious egotrips we mainly see that someone must have been primarily interested in sex scenes with the intention of ogling the nudity of the actress. Everything around that was just a smoke screen to feign "artistic motivation".

. Many reviewers praise the leading actress Valerie Kaprisky, but we mustn't overlook the fact that they are all males salivating over her onscreen full frontal and rear nudity. It may be high time that somene had pointed out that this actress is just plain ugly ... when you care to look higher from her breasts.

It's a real shame that this movie has a such confused screen-play. We are acquainted to non-linear plots, but this one exceeds. Probably this is because the director himself performed as a screen writer, and so we often see shots that have a strong visual impact, and are tecnically impressive, but whose function within the storyline is unnecessary and confusing. So many elements remain undetailed, for instance Ethel's relationship with her parents and the underlying political conspiracy. And the mysterious bohemienne writer that appears twice in the movie... who is? And how comes that he is part of Ethel's background? At a certain point you ask yourself what is going on and what the movie is all about.

Editing is not always faultless, and there is some rough cut.

Coming to the bright side, as I noted above there are good shots, both for directing and for acting that is really good by all actors. Valerie Kaprisky who was then 22 old, appears gorgeous and dramatic at the same time. Huster and Lambert also play their parts convincingly.

Rating: *** (out of six)

One of the worst films I've seen in a long time, "La Femme Publique" hurls the viewer right into the middle of its incomprehensible "story", without any introductions: from the little I could gather, it's about an actress who gets into a triangle with her possessive, abusive director and another nutcase who gets involved in a political assassination (don't ask). In her spare time, she does nude dance shoots with a creepy photographer who apparently dies but comes back to life (don't ask). Andrzej Zulawski pushes all his actors into a state of collective hysteria, screaming their (meaningless) lines. And although Valerie Kaprisky has a fantastic body and is nude half the time, he manages to make the film totally unerotic and disturbingly misogynistic. The only reason I'm giving it a 2 out of 10 is that the movie-within-the-movie seems even worse!

Andrej Zulawski's most famous film "Possession" was released more or less in English, but still barely made a lick of sense, so I didn't have much luck with this one which is so far only available in French or (in the version I saw)Italian. This may not matter though as much of the film is taken up by scenes of the gorgeous Valerie Kaprisky dancing around buck naked or having sex with various men. Model/actress Kaprisky plays a model/actress (there's a stretch). Her "modeling seems to consist mostly of her stripping to the skin and doing bizarre dances to horrid Europop numbers while a creepy, elderly photographer snaps pictures of her impressive torso. Maybe it's the awful music, but these sessions inevitably seem to end in her or the photog. having some kind of physical or emotional breakdown. Zulawski uses the same confusing temporal dislocation here he used in "Possession". In one session the photographer apparently drops dead from a heart attack, but in the next he is not only alive but apparently fit enough to go crazy, grab Kaprisky by the throat, and start shoving dollar bills in her mouth (and other, off-screen orifices)for some reason...

Meanwhile her character is also appearing in a legitimate movie (apparently some kind of costume drama). The director of the movie is bedding Kaprisky, but he seems more interested in trying to cause her to have some kind of real-life emotional breakdown for the sake of his "art" (ironically, Isabel Adjani had accused director Zulawski of trying to do the exact same thing to her in "Possession"). She also becomes involved with another crew-member who is apparently one of those vague French Marxist revolutionaries of that era (an era in which the US military was still protecting bourgeois France from all those "Marxist revolutionaries" over in the USSR). Naturally, a whole lot of pathos ensues.

Kaprisky gives a very committed performance, even if she is definitely no Isabel Adjani. This is probably her best film (although that's not necessarily saying much). The movie really isn't anymore non-sensical than "Possession" (in fact, it would probably be less so if it had English subtitles),and like that film it's at least not boring for one minute. If you take all that for a recommendation, by all means help yourself to this little slice of Gallic insanity.

I am so grateful my girlfriend pushed this movie on me. Zulawski's POSSESSION might be my favorite film of all time, but I'd never seen a trailer for this one, so I hadn't yet thought to check out his next film following 1981's Possession, which is this, The Public Woman.

Now, Zulawski himself claims that he was asked to direct this movie by the producers who wanted to do an adaptation of Dostoyevsky's novel "The Possessed", but I am shocked to see that no one else has mentioned or inquired upon all the seemingly blatant parallels that this movie draws with Possession and it's production. There are endless details suggesting that the tyrannical director character in the film very obviously represents Zulawski himself, while the protagonist often seems to represent Isabelle Adjani (the lead actress from Possession). It's well known that Adjani had an intense and traumatic experience creating Possession, effecting her for years, and a great part of The Public Woman is about a director pushing a young actress to her absolute limits in an attempt to almost break or change her, in order to get the sort of performance he wants out of her. There are movements, sequences, lines of dialogue, and more that all directly correlate with this idea, then the fact that it's about adapting a book called "The Possessed" is icing on the cake. The French actress asks the director, "Why are you shooting your film in Germany?" This is all just a very intriguing element to me, and I love movies that sort of have this digging-through-the-4th-wall vibe by tying in publicly known elements from reality. The wildest part is that if this theory is correct, in the case of this film, rather than being an expression of catharsis as most similar cases would be, it's quite the opposite - a primarily narcissistic bloat piece which also happens to be artfully masterful.

Zulawski's signature olive green + puke color palette is in full effect here, and only he could make me love it. His signature camera work, often chaotic, claustrophobic, and sometimes even moving as if it has a mind of it's own - is all alive and well here as well. The stylishness of the filmmaking is cranked up to 11, but of course, the most important part of the film is the fully explosive and maniacal acting performances from the entire cast. The immense acting is what really brings the movie to it's own insane and legendary realm, and keeps it there. It seems undeniable that the director character represents Zulawski because there is no other explanation as to why we see acting performances in Zulawski's films that display a unique intensity that goes entirely unmatched. Every character in this movie is a monster aside from the beautiful, graceful lead played with grace, excellence, and almost inhuman spirit, by Valerie Kaprisky, who wasn't the original choice for the role and who was heavily doubted by the producers beforehand. They could not have been more wrong - Kaprisky is absolutely stunning and a complete force of nature.

The narrative will play with your head as it weaves in and out of a film production within a film - sometimes you won't know if what you're seeing is part of the film they're shooting, or simply part of the film you are watching. It doesn't get old, and it heavily adds to the surrealism of the entire experience. Sometimes it feels like the narrative is moving a million miles per hour, and sometimes it feels like it has you trapped in a corner so it can torture you for a while, but regardless it is a powerful one and it is a fully impressive and singular experience.

I've only seen 4 of Zulawski's films (the others being On The Silver Globe, which is one of the most challenging but impressive films I've ever seen, and his swansong Cosmos, which is one of the emptiest films I've ever seen), and although Possession is my personal all-time favorite, I think The Public Woman may very well be his most watchable in a universal sense. I will not hesitate to call it a masterpiece! Long live the Polish master.