In Liliana Cavani’s scintillating drama, a concentration camp survivor (Charlotte Rampling) discovers her ex-torturer/lover (Dirk Bogarde) working as a night porter at a hotel in postwar Vienna. When the couple attempt to re-create their sadomasochistic relationship, his former SS comrades begin to stalk them. Operatic and disturbing, The Night Porter deftly examines the cruelty and decadence of Nazi culture.
—The Criterion Collection
Born to a working-class family, she graduated in Classics at Bologna University. In 1960 she enrolled at the Centro Sperimentale di Cinematografia (Experimental Cinematography Centre) where she obtained her diploma with the short films “Incontro notturno” (1961) and “L’evento” (1962). On winning a competition with Rai, she directed various interesting documentaries for the Italian TV service, from “Storia del III Reich” (1962-63) to “La donna nella Resistenza” (1965). She made her debut in full-length feature films in 1966 with “Francis of Assisi (Francesco d’Assisi)”, produced by the TV and magnificently interpreted by Lou Castel; made in a period of political unrest, it was to become a kind of manifesto of dissenting Catholicism.
Her next film, “Galileo” (1968), tackled the difficult relationship between intellectuals and power, while the intense “The Cannibals (I cannibali)” (1969) proposes a reflection on the crimes committed by the authorities, taking its inspiration from Sophocles… read more
this was just such a disaster of a film, which is disappointing, because it had so much potential. poorly written, poorly acted, poorly orchestrated.
it's very innovative premise is played out within the first 20 minutes... after that this film has no idea where it wants to take these characters, which is eventually no where at all.
I found it too detached for its own good, but Cavani's choice of ellipsis in the story fits quite well to her cold third person narrative, now as far as characters go and how involved we grow towards them, this movie suffers. I mean isn't this kind of perverted romance one that should have passion, instead of lifeless drones wanting each other?, why is this Nazi romance being told through the other side of the fence?