Directed by Roman Polanski, based on the play by David Ives which itself was inspired by Leopold von Sacher-Masoch’s novel is the story of an actress trying to convince a director that she is perfect for the main role in his play.
Set in a Paris theatre, it begins with a Director exhausted from a long day of auditions only to be pushed to the edge by an irreverent actress convinced she was born for the role. From her late arrival to her dismissals that the play is nothing more than porn the Director soon finds himself drawn into a psychological battles of wills as the S&M undertones of the play spill out into real life.
Mathieu Amalric as Thomas and Emmanuelle Seigner as Vander are outstanding in this two hander. The fluidity of the performances, from Thomas and Vander working on the play to the play blurring the lines between the performers own personalities is faultless. The direction is as flirtatious as the subject matter, one minute suggesting the two are the play’s actual characters then teasing that the play is just bringing out the pair’s individual tendencies.
During the film Vanda moves back and forth effortlessly from a glib actress to a 19th century sophisticate, so much so it is unclear whether she’s an actress playing a Goddess or Goddess playing an actress. Likewise, Director Thomas is at first the dominant character but gradually switches to and from to the slave. Like Vanda, Thomas has more in common with his role than first impressions would suggest, so much so as the roles inevitable switch it is unclear whether it’s the Director playing a masochist or the masochist playing a Director.
Even though this is a two-hander the third star of film is the Director himself. What could have been a rather dull and confusing movie is brilliantly handled and beautifully brought to the screen by the excellent Roman Polanski. That the film appears to be traditionally set underlies the subtle flair Polanski demonstrates as he dances between the film’s subtext and physiological eroticism.
Credit must also go to Production Designer Jean Rabasse and Cinematographer Pawel Edelman. In their hands what could have been a weakness of the film, with it being told entirely on stage, is turned into a strength by ensuring the tone of the stage always compliments the ever changing tones in the story.
Worthy of the David Ives play and of Leopold von Sacher-Masoch‘s novel, this film of a play within a play about characters within characters is as intelligent and it is seductive and sees Roman Polanski on sparkling form.
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