Category / Directors

by Jonathan M

Demonlover (2002) – Back from the Primitive

I recently re-read Joseph Conrad’s Heart of Darkness (1902) for the first time since taking up criticism as an activity.  I originally read the novella as a very straight-forward conceptual breakthrough story in which a Victorian comes to realise the literally horrifying nature of existence.  However, upon further reflection it strikes me that, while sticking to this interpretation of the novella, there are three possible insights to take away from the book :

  • Firstly, that existence outside of the confines of civilisation is horrific.  Under this interpretation, the desiccated world of doilies, influential aunts and ancient men we see in the opening section of the novella are a price we have to pay in order to protect ourselves and escape from the Horror of the Hobbesian state of nature.
  • Secondly, that existence is whatever humanity makes of it.  Rather than building a new world or exporting the values of the European elites, colonialism has in fact opened the way for the rapaciously greedy to create a sort of hell on Earth.  A hell in which a man’s capacity to kill elephants and enslave the local population makes him a great man.  When Kurtz dies, he groans not for the horror in the world, but the horror he and his imitators have unleashed.
  • Thirdly, that Kurtz’s groans are a moment of conceptual break-through.  Under this view, humanity is trapped between the anguish and misery of being and the terrifying nothingness of non-being.  Whether a Dutch merchant or a Congolese fisherman, the dilemma is the same even if we do not necessarily realise it.  Kurtz, by venturing far outside the confines of his native culture, has realised the truth about existence.  A truth that horrifies him even as he dies.

These three different interpretations represent different solutions to the question of why existence is so horrifying :  Is existence tainted by our actions?  Is it something that is present in the world but escaped from thanks to civilisation?  Or is it something that permeates all of existence, but which we only catch a glimpse of from time to time when we are paying attention?

Critically panned at the time of its release, Olivier Assayas’ Demonlover (2002) is an attempt to provide an answer to this question by considering not only the ways in which humans treat each other but also the ways in which human civilisation deals with the savage nature of existence through its media and its institutions.

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by Jonathan M

Rosemary’s Baby : Whimper Against the Machine

Polanski week has seen me write at length about the cinematic technique, intellectual pedigree and philosophical themes of Roman Polanski’s Apartment Trilogy but for Rosemary’s Baby (1968) I would like to take a different approach.  Arguably one of Polanski’s best known films, Rosemary’s Baby is wonderfully acted, perfectly paced and so tightly written and shot that not a single frame feels out of place or fails to pull its weight.  From the famously ‘Doris Day’ soap operatic opening scenes to the macabre ending, it is close to being a flawless work of cinematic genius.  However, where The Tenant (1976) and Repulsion (1965) are quite clearly about the descent into madness via sexual repression, Rosemary’s Baby deals in the more fantastical currency of witches, Satanism and the birth of the anti-Christ.  The use of such fantastical imagery invites us to wonder what the film is really about.  Rosemary is clearly not mad, nor is she sexually frustrated.

Rosemary’s Baby is a snapshot of social power dynamics in 1970s New York.  It is a film not only about the treatment of women at the hands of a powerful Patriarchy, it is also an account of price exacted from the young by the elderly in return for the transferal of power to members of a new generation.  Despite being a film about unearthly creatures, Rosemary’s Baby is ultimately a profoundly temporal film about man’s inhumanity to man (and especially woman).

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by Jonathan M

“I haven’t been into feet since ’82”

Seeing as it is Polanski Week, I thought I would also link to an amusing little film that attempts to suggest that Roman Polanski might have some kind of foot fetish thing going on…

The film is called “Un Piede di Roman Polanski” and it was joint winner of the CineKink 2009 award for Best Experimental Short.  Hat-tip to Lauren Wissot who, along with Rosanne Kapitoa, is responsible for putting together this little gem.

by Jonathan M

The Panic Tone – Polanski and Topor’s The Tenant (1976)

In my piece on Polanski’s Repulsion (1968), I highlighted the homage paid by Polanski to the generation of Surrealist filmmakers who came before him.  In this piece, I want to examine the similarities in tone between another of Polanski’s films and the branch of French Surrealism that provided the source material for one of Polanski’s best known films, The Tenant (1976).

By 1960, the vultures had started to circle the Surrealist movement.  What had started out as a desire to destroy and rebuild the iconography of Western Art in the aftermath of the First World War now seemed like a circular and pointless endeavour through which one section of the bourgeoisie tried to shock and outrage another section of the same narrow social institution.  While members of the Generation of ‘27 burned with anger at the Franquist government which had exiled and jailed them, the alliances with Marxism that would impact film-makers such as Bunuel were still a way off.  Facing such creative stagnation, Fernando Arrabal, Alejandro Jodorowsky and Roland Topor came together to form Burlesque, a creative clique which would later inspire itself from the god Pan and name themselves the Panic Movement.

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by Jonathan M

Cinematic Vocabulary – The Psychotic Break from Repulsion (1965)

It is a pleasure to return to Cinematic Vocabulary and kick off Polanski Week by looking at what I consider to be one of Polanski’s less appreciated films.  While The Tenant (1976) is the darling of cinephiles and Rosemary’s Baby (1968) is second only to Polanski’s Chinatown (1974) in terms of mainstream appeal, Repulsion is sometimes overlooked as an early work, sandwiched as it is between Polanski’s break through film Knife in the Water (1962) and his more famous Hollywood projects.

However, it is my contention that Repulsion is a substantial landmark on the the road of Polanski’s artistic development.  The low-budget British Horror film allowed him not only to perfect some of the cinematic techniques that would feature prominently in his later works but also to tackle some of the themes dear to the generation of 1930s surrealist film-makers who clearly had quite an influence on Polanski’s thinking.

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by Jonathan M

Polanski Week

While I try to move outside of my comfort zone in the films I choose to watch, sometimes I find myself in a place where only a certain kind of film will satisfy me.  At the moment, that type of film is the psychological thriller.  One of the masters of this particular genre is the Polish-French director Roman Polanski.  Holocaust survivor, husband to Sharon Tate (who was murdered by Charles Manson and his ‘Family’) and fugitive from justice, Polanski has made many powerful and disturbing films though perhaps none as disturbing as his Apartment Trilogy.

  • Repulsion (1965)
  • Rosemary’s Baby (1968)
  • The Tenant (1976)

In order to pay appropriate hommage to my current obsession, I have decided to turn Ruthless Culture over to the study of Polanski’s Apartment Trilogy for a period not exceeding one week.