The debut work "Water Knife" with only three characters, "Killing" which is closed in a space and chattering endlessly, "Weird Tenant" who has been addicted to transvestite, "A Psychotherapy" in fur, and a sadomasochistic sacrificial dance "Bitter Moon"...Polanski wanted to make a movie that was as simple as only two actors but could tolerate all of this. Now, he has perfected himself with "Venus in Fur".
The movie "Venus in Fur" is adapted from the play of the same name, which is rooted in the novel written by Austrian novelist Mossock. Just as "Sadism" (Sadism) originated from Sade (Sade), the name of Masoch also gave birth to the term "Masochism" (Masochism), and the two together constitute a vocabulary SM familiar to modern people. . "Venus in Fur", published in 1870, used the form of a novel to define masochism for the first time. Since that era, many people have regarded this novel as a bible of sex.
The novel by Sauning, who plays the role of a novelist,
tells the story of the enslavement of the European aristocrat Sauningan by his dream lover, Wanda. When Sauning was young, his aunt in fur used a whip to torture him, but in the end she forced him to thank her for the punishment and stretched out the back of her hand to kiss him. This eternal scene ignited Saunin’s initial fantasy of women. Since then, he believes that the cold and cruel woman is his Venus, and the most important thing is that she must wear a fur coat. The image of the "fur coat" is like a switch that can trigger Sauning's passion like a martyr. Through the magic mirror of imagination, he can turn the cruelty and self-humiliation from the outside into the bliss of a martyr.
Thomas who plays Saunin in the movie
The story of the movie takes place in modern times, and a new space is built on the basis of the novel. The novel became the screenplay "Venus in Fur" adapted from the movie, and the movie took place at the interview scene in the theater. Drama director Thomas (played by Matthew Amarek) plays Saunin and plays against the actress who happens to be Wanda to test whether the other party is qualified to play the role of Wanda. Four opposing male and female roles have established different force fields. The bargaining chip of power is constantly shifting between the parties. The boundary between performance and reality is gradually blurred. In the end, the dominant position of women in the drama spreads to reality. The endings of the
fictional revolutionary
novels and the movies are similar to each other and point to the disillusionment of masochistic fantasy. In the novel, the cruel whipping of Wanda and her lover surpassed Saunin’s limit and completely broke all his poetic fantasies about masochism, so his masochistic tendency was cured; and the movie’s point of view is that SM The game is a violation of women as props. The script of "Venus in Fur" also reveals sexism between the lines. Because of this, Wanda entered the world of director Thomas under the guise of an interview in order to put him on trial.
Real defeat,
however, is this really the end of the journey? Let's insert a gossip about Mosoc. Mossoc’s wife once published a memoir, revealing some hidden things. For example, after a day of domestic work, she still needs to drag her tired body and mind, put on heavy fur, pick up the whip, and act thoughtfully. The cruel dream lover of his husband; but the husband finally abandoned her and eloped with a more domineering Venus. Just like the description in the novel, the real Mosoc has also signed a contract with his wife or lover and became their slave, and the woman "promises to wear fur coats as much as possible, especially when she is cruel to slaves." In contrast to reality, we will think that the novel is a mirror reflecting his life, and the enlightening ending is just a disguise, in order to make the novel appear to meet the standards of the society. In fact, the novel is basically a work of art created by Mosoc for his masochistic tendencies. It not only satisfies his own self-appreciation, but also arouses the fantasies of other readers.
Director's scepter
Back to the ending of the film, the authority of the director in the film was completely overthrown. As shown by the scarlet poster, the high heels crushed the glasses. This looks like a typical feminist victory. However, we cannot fail to imagine that, no matter how trembling Thomas in the movie, Polanski is absolutely safe behind the camera. His "Wanda"-his wife Emmanuel Senier is still an actor subordinate to the director. Polanski is the god who plays with this Russian doll.
The aesthetic safety zone is
more secure than the director behind the camera. Of course, it is us movie audiences who suffer from chronic voyeurism. We are indulged in aesthetics and indulged in the symbols that flood the movie: leather collars, high heels measuring more than ten centimeters, tall blonde girls; we will not forget that when Thomas put on knee boots for Wanda, it made people The visual expression of olfactory fantasy, as well as following the zipper, slowly wriggling fingers up, approaching the depth of the thigh... And when Thomas put on high heels and swayed, we remembered "Strange Tenants" In, Polanski's passionate interpretation of transvestism.
At the end of the film, Thomas looked at Wanda dancing the priestess with a horrified look. She was like a nemesis that made people scared. As far as we are out of the picture, this shaky stalk of feminists cannot stand scrutiny at all, and all cultural orientations eventually become an excuse for aesthetics. Seeing her naked in fur, swinging beautiful and absurd dances, this high sense of form gave us an imagination that has crossed the many dimensions of history: the real and cold statue of Venus; novelist, director , The various insinuations of the actors; his own experience of mixed falsifications; and even the Venus in Furs of the Velvet Underground... The surging aesthetic elements can be used by us under the screen, and are producing wonderful At the same time, there is no need to worry about the suffering of flesh and skin at all.
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