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MARTHA MARCY MAY MARLENE
7:00
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5:20
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MELANCHOLIA
8:00
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4:45
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4:45
Maria Anna Mozart, older than Wolfgang
and a musical prodigy in her own right.
MOZART’S SISTER
5:20
7:00
7:00
ELIZABETH OLSEN
JOHN HAWKES
5:20
5:20
5:20
A LARS VON TRIER FILM starring KIRSTEN DUNST
8:00
8:00
HOUSE OF PLEASURES
8:00
8:00
8:00
a highly cinematic and atmospheric look at the
final days of a turn of the century Parisian brothel
9:00
9:00
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9:00
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THU
A Pound of Flesh
Sex and vengeance reside in House of Pleasures
HOUSE OF PLEASURES (L’Apollonide
(Souvenirs
de
la
maison
close)):
Written and directed by Bertrand Bonello.
Cinematography, Josée Deshaies. Editor,
Fabrice Rouaud. Starring Jasmine Trinca,
Hafsia Herzi, Alice Barnole, Iliana Zabeth,
Noémie Lvovsky. IFC Films, 2011. R. 122
minutes. 44441
P
rostitution, contrary to that
infamous adage, is not the world’s
oldest profession. The world’s
oldest profession is the pinch — called
sales by some, theft by others — of which
prostitution is only a subset. Fucking might
be the world’s oldest pastime, but the idea of
paying for anonymous sex could only arise
in the quid pro quo of a market economy.
Trade begat currency, and the unsentimental
solvency of cold, hard cash slapped a price
tag on a piece of ass. Everything else is just
love, lust or rape.
At one point in House of Pleasures,
the new fi lm by French director Bertrand
Bonello, a whore propositions her patron
by asking, matter-of-factly, “Shall we have
commerce?” What a line — Marx, Freud
and the Marquis de Sade couldn’t have
put it any better. I half expected the man to
reach into his coat, produce a jar of Grey
Poupon and exclaim, “But of course!” No
such luck: The only humor exhibited in this
strange, beautiful and viscerally affecting
movie rises like dust from the gallows fl oor.
House of Pleasures depicts daily life in
the upscale Apollonide, a brothel at the turn
of the 20th century. Just whose pleasures
are being housed is diffi cult to say. The
movie is inexhaustibly curious about men
and women and money and fucking, and
remorseless in its desire to probe the nooks
and crannies of carnality — every pore,
every stray pubic hair — but the results are
about as erotic as a colonoscopy. Sex here
is only a commodity. It is also, for Bonello,
a means of investigating a slew of dark
and disturbing issues, both symbolic and
literal, including exploitation, perversion,
alienation, violence and the insidious
slavery of indentured servitude.
The movie is shot entirely inside the
labyrinthine bordello, and the crepuscular
lighting, coupled with the ragged, tired and
often disrobed female bodies, can make
characters diffi cult to distinguish and
identify — similar, not insignifi cantly, to
the way it’s sometimes hard to tell who is
who in war movies. Comprising a sort of
ragtag family of adult orphans unifi ed by
their indentured servitude, these women —
forever trying to pay off their “debts” to
escape the brothel — bond with a kind of
battlefi eld mentality, equal parts tenderness
and tough love. As they prepare for an
evening’s work, their banter is familiar,
crude, plaintive and given to crude jokes
and constant belittling of the infantile
needs of their johns. One whore complains
that a regular client is “always asking what
I think of his crooked cock,” and another
causes a chilling fi t of laughter when she
claims, “fucking is a fucking awful job.”
House of Pleasures is a heartbreaking
and infuriating fi lm — a eulogy for a
bygone age delivered with unprecedented
candor and an underlying vibe of terror.
And yet Bonello’s vision, despite the messy
realism and unadorned grit with which he
portrays the twilit tragedies of prostitution,
is more atmospheric than dramatic; like the
work of David Lynch or Terrance Malick,
House of Pleasures forgoes the tensions
and revelations of straight narrative for a
kind of brooding, ominous psychology.
The fi lm’s characters, however — far
from being abstract cutouts of ideas — are
all fl esh and bone. You ache their aches.
What minimal plot there is involves an
act of horrible violence and the slow-
boiling vengeance that ensues: Madeleine,
nicknamed the Jewess (Alice Barnole), is
horribly disfi gured when a knife-wielding
sociopath, playing a game of sadistic
seduction, suddenly carves her smile ear-
to-ear. Thus an inverted hierarchy of pain
is revealed, with Madeleine, “the woman
who laughs,” plunged to the extreme
depths of this slavish hell.
When a newly arrived candidate,
Pauline (Iliana Zabeth), tells the Madame
(Noemie Lvovsky) she is seeking her
freedom through prostitution, she receives
nothing but a bewildered laugh. “Fake it
during sex,” the Madame tells her. “That’s
how we do it.” Pauline ends up paired with
a john who makes her dress like a geisha
and speak mock-Japanese; another whore
is forced to move like a robot, human
doll. When Julie (Jasmine Trinca), dying
of syphilis, is abandoned by her john, her
response is like an epitaph: “Men have
secrets but no mystery.”
ew
House of Pleasures opens Friday, Jan. 6, at Bijou
Cinemas; info & times at bijou-cinemas.com
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Times For 01/06 - 01/07 © 2012
EUGENE WEEKLY JANUARY 5, 2012 17