We learn quite early on in Roman Polanski’s latest movie
that its not based on the Lou Reed song that was released on The Velvet
Undergrounds debut album in 1967 but on the story written by Leopald von
Sacher-Masoch, the great-great uncle of Marianne Faithful and the man who gave
his name to the enjoyment of receiving pain. Polanski’s film Venus
in Furs (2013) is based on a two-person play by David Ives, who helped
Polanski adapt it for the screen, and which was originally set in modern New
York City and premiered on Broadway in 2011.
Set in a run down Parisian theatre, Thomas Novacheck
(Mathieu Amalric who has an uncanny resemblance to the Polish auteur) has
written an adaptation of Sacher-Masoch’s 1870 novelette and is alone in the
theatre after a long day unsuccessfully auditioning actresses for the leading
role of Wanda von Dunayev. Just as the debut director is about to leave the
building for home in waltzes a dishevelled actress, Vanda Jourdain (Emmanuelle
Seigner, the present wife of Roman Polanski) who begs the rather despondent
director to let her read for the part. At first he refuses, suspecting that the
woman is no better than the flock of hopefuls he has already seen, but she
eventually persuades him. Much to his
surprise she has a complete understanding of the part she is about to play and
when Thomas reads the part of Severin von Kusiemski he becomes completely
obsessed, drawn into the world of masochism, furs, bondage and submission.
This movie is a play within a play, where we witness both life
as a play, and a play-acting out life. The two actors are totally convincing in
the ‘dual’ roles they perform. Except at the opening credits and at the end
credits, the film is completely based within the confines of the theatre. The skill
of the writing was very much appreciated by this blogger; its humour and the
clever manipulating of the characters were superb. Polanski in top form, in
what’s unusual for him – a grand comedy. Not to be missed.
Venus in Furs. |
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