Paris 1835: Ryno de Mari-gny soll Hermangarde ehelichen, doch deren Großmutter fordert ihn zu einer Aussprache, als sie hört, dass er seit Jahren eine Mätresse hat. Eine ganze Nacht lang beichtet Ryno ihr nun sein Verhältnis mit Vellini, das von Liebe, Leidenschaft und Hass geprägt ist.
Dieser Film läuft zur Zeit nicht auf MUBI, dafür aber 30 andere großartige Filme. Schau hier, welche es sind Jetzt auf MUBI
The film begins w/ a 30 minute commencement establishing the simultaneity of Breillat's artistic interests: How--in what manner--should we depict this subject matter; how do we do justice to emotional intimacy, historical detail, AND political distance? C.B. chips away at these inquiries in each & every moment of the film, her greatest work. The classicism, the transgression, Asia Argento: the culmination ruins me.
Tiré de Barbey d’Aurevilly. 1835, la marquise de Flers marie sa petite fille à 1 jeune noble dont la réputation de libertin l’inquiète. Toute 1 nuit, Ryno de Marigny va tenter de la rassurer en lui racontant comment il a mis fin à 10 ans de passion avec 1 sulfureuse maîtresse: La Vellini.
Asia Argento, Fu’ad Ait Aattou, Claude Sarraute, Michel Lonsdale, Yolande Moreau, Lio, Amira Casar, Anne Parillaud & Léa Seydoux.
The opening credits state that the film is set "...in the century of Choderlos de Laclos," who lived in the eighteenth century while the source novel by Barbey d'Aurevilly is a product of the nineteenth century. I think this speaks to what these literary sources are all about and to the 'kind' of film Breillat wanted to make. Imagine if she had directed a film version of 'Dangerous Liaisons,' wow...
The pacing can be awkward - it gets off to a slow start, and looses some steam in the last third. But at its best, a mesmerizing, dark tale of lust, passion, and deceit that knows when to be raw and when to be understated. Bolstered by strong performances, including a surprising turn from Asia Argento, this is easily one of Breillat's best films.
Breillat delivers a fairly direct adaptation (tho I can't compare overlap), but given the madonna/whore subject it doesn't feel impersonal. Instead it plays as an especially fiery romance, sympathy bestowed on upon the latter of course. The structure creates a certain distance as we discover the implications of the early scenes, and it doesn't lean heavily on the repression of the period as we might expect.
In my opinion, quoting Barbey d'Aurevilly - almost word for word - is just not enough to capture the essence of a novel as rich as Une vieille maitresse. Without even trying to compare the book to the novel in terms of adaptation, I thought the whole thing lacked of soul, and was a bit too uptight, dispensable, even irritating (just because it's a literary script doesn't mean you have to act in a theatricality way)
“They say that in battle, when thoroughbred horses are lightly injured by a bayonet, a mysterious attraction to pain urges them forward to impale themselves right to the heart. It’s the same with you, since the day I saw you again.”