Alright, let me preface this film review with my admission that this is my first exposure to Catherine Breillat's work. So, you'll read no references to Romance and Fat Girl from me. What you will read is starling commentary well-constructed and didactic film. Breillat's newest production "Une Vieille Maitresse" or The Last Mistress (in North America) is a French-language set in the early 19th century. It is a film adaptation of Jules Barbey d'Aurevilly's novel of the same name.
The story is narrated by and follows Ryno de Marigny (Fu'ad Ait Aattou), a pompous womanizer, through a ten-year period during which he has a sporadic relationship with a beautiful Spanish courtesan. Ryno is finally ready to settle down and is convinced of his unabated love for wealthy and virginal Hermangarde (Roxane Mesquida). Her grandmother (Claude Sarraute) requests his life's story as symbol of his devotion to her granddaughter, which Ryno struggles to reveal.
Ryno was rebounding from boring liaisons with married women when he was introduced to Señora Vellini (Asia Argento), the wife of an English aristocrat. Though she initially dislikes him, Vellini warms to Ryno's persistence in courting her. The process is bloody and life-threatening for both of them. Eventually, Vellini leaves her husband to live with Ryno. They move out of the country where they are beset by great tragedy and decide to separate. They agree to see others, but return to each other's arms for many passionate scenes.
The narration ends and Ryno is now married to his devoted wife who, according to local gossip, is already subjected to him. Hermangarde shows us her devotion and follows Ryno to coastal France, despite her disdain for the ocean. Unbeknownst to both of them is Vellini's interest in the area too. Hermangarde sees her one day and follows her home to discover Ryno's horse outside. The film ends with observation that Vellini and Ryno will never separate.
The Last Mistress is a film about liberation of sexuality, for both men and women. Vellini and Ryno are dominant partners when with other people but, in their inappropriate relationship, they are harmonious. Neither finds content by acceptable sexual practices. Their lawless affair is what impassions them. Asia Argento is much more attractive than her counterpart Roxane Mesquida in her sexual scenes. Her lovemaking (which is always presented on screen) appears more vivacious than Hermangarde's. Both Vellini and Ryno are capable of such visual flair because they view each other with an odd sort-of respect. Ryno literally takes a bullet for another chance at convincing Vellini to leave her browbeat husband and she, in turn, is shamed by society at large (though Ryno remarks that she doesn't notice this). It is this duality which creates there ten-year bond which we see and their presumed future together.
I noticed a palpable feminist slant to The Last Mistress, which I discovered is frequent in Breillat's work. It's most obvious when someone remarks that Vellini and Ryno have been together three years longer than most Parisian marriages last During Ryno and Hermangarde's wedding ceremony, the pastor discusses passages from Corinthians which state that "man is the head of the house as Christ is head of the church." Yea, that was typical in the 18th century, but what wasn't was an illegitimate relationship between a penniless Frenchman and a Spanish courtesan. Breillat provides the most striking criticism of that archaic viewpoint with Vellini's self-declaration as a devil (not a she-devil) at a costume party.
As a feminist, I must admit a slight bias I felt when writing this review. It's much easier to evaluate films for which I've no attraction than those I do. This one is enjoyable, but its pacing is slow and its story unfolds via an outdated method. Its "character reveals his/her past to curious spectator" approach is rarely used because of how obvious it is. Breillat provides a distraction for us in the skillful newcomer Fu'ad Ait Aattou. His facial expressions resonate with movement and convey a deep level of complexity. We are never sure if he's ecstatic or gloomy until we see his face. Given that most of the film is extreme close-up, this is incredibly important. Asia Argento doesn't show Aattou's depth (with her face) but her appearance is important nevertheless. While Hermangarde is pallid and her physical features are withdrawn, Vellini's skin is dark, her breasts are larger, and her body is fitter. See that feminist slant? This does reveal a possible anachronistic tattoo on Asia's upper spine. I would have preferred more information about Hermangarde. We know Asia loves her but why? How did she become the wife of the most disreputable playboy in Paris at the time? The absence of Hermangarde's past allows us to explore Vellini's history thoroughly but there is scant a sentence on the white virgin's history.
As my first Breillat film, I was quite impressed. I'll view more of her work and perhaps return to this piece once I can evaluate in greater context. It's a very slow film and I wouldn't recommend it to those seeking a typical romance. The nature of romance in The Last Mistress is similar the peculiar relationships in Milan Kundera's The Unbearable Lightness of Being. This film isn't as impressive as that one but it is a worthy comparison, full of modern application.
(Note: This film is unrated in the United States but the MPAA would probably have rated it NC-17 for explicit sexuality, violence, blood, and drug use) Final Consensus: *** and ½ out of ****
The story is narrated by and follows Ryno de Marigny (Fu'ad Ait Aattou), a pompous womanizer, through a ten-year period during which he has a sporadic relationship with a beautiful Spanish courtesan. Ryno is finally ready to settle down and is convinced of his unabated love for wealthy and virginal Hermangarde (Roxane Mesquida). Her grandmother (Claude Sarraute) requests his life's story as symbol of his devotion to her granddaughter, which Ryno struggles to reveal.
Ryno was rebounding from boring liaisons with married women when he was introduced to Señora Vellini (Asia Argento), the wife of an English aristocrat. Though she initially dislikes him, Vellini warms to Ryno's persistence in courting her. The process is bloody and life-threatening for both of them. Eventually, Vellini leaves her husband to live with Ryno. They move out of the country where they are beset by great tragedy and decide to separate. They agree to see others, but return to each other's arms for many passionate scenes.
The narration ends and Ryno is now married to his devoted wife who, according to local gossip, is already subjected to him. Hermangarde shows us her devotion and follows Ryno to coastal France, despite her disdain for the ocean. Unbeknownst to both of them is Vellini's interest in the area too. Hermangarde sees her one day and follows her home to discover Ryno's horse outside. The film ends with observation that Vellini and Ryno will never separate.
The Last Mistress is a film about liberation of sexuality, for both men and women. Vellini and Ryno are dominant partners when with other people but, in their inappropriate relationship, they are harmonious. Neither finds content by acceptable sexual practices. Their lawless affair is what impassions them. Asia Argento is much more attractive than her counterpart Roxane Mesquida in her sexual scenes. Her lovemaking (which is always presented on screen) appears more vivacious than Hermangarde's. Both Vellini and Ryno are capable of such visual flair because they view each other with an odd sort-of respect. Ryno literally takes a bullet for another chance at convincing Vellini to leave her browbeat husband and she, in turn, is shamed by society at large (though Ryno remarks that she doesn't notice this). It is this duality which creates there ten-year bond which we see and their presumed future together.
I noticed a palpable feminist slant to The Last Mistress, which I discovered is frequent in Breillat's work. It's most obvious when someone remarks that Vellini and Ryno have been together three years longer than most Parisian marriages last During Ryno and Hermangarde's wedding ceremony, the pastor discusses passages from Corinthians which state that "man is the head of the house as Christ is head of the church." Yea, that was typical in the 18th century, but what wasn't was an illegitimate relationship between a penniless Frenchman and a Spanish courtesan. Breillat provides the most striking criticism of that archaic viewpoint with Vellini's self-declaration as a devil (not a she-devil) at a costume party.
As a feminist, I must admit a slight bias I felt when writing this review. It's much easier to evaluate films for which I've no attraction than those I do. This one is enjoyable, but its pacing is slow and its story unfolds via an outdated method. Its "character reveals his/her past to curious spectator" approach is rarely used because of how obvious it is. Breillat provides a distraction for us in the skillful newcomer Fu'ad Ait Aattou. His facial expressions resonate with movement and convey a deep level of complexity. We are never sure if he's ecstatic or gloomy until we see his face. Given that most of the film is extreme close-up, this is incredibly important. Asia Argento doesn't show Aattou's depth (with her face) but her appearance is important nevertheless. While Hermangarde is pallid and her physical features are withdrawn, Vellini's skin is dark, her breasts are larger, and her body is fitter. See that feminist slant? This does reveal a possible anachronistic tattoo on Asia's upper spine. I would have preferred more information about Hermangarde. We know Asia loves her but why? How did she become the wife of the most disreputable playboy in Paris at the time? The absence of Hermangarde's past allows us to explore Vellini's history thoroughly but there is scant a sentence on the white virgin's history.
As my first Breillat film, I was quite impressed. I'll view more of her work and perhaps return to this piece once I can evaluate in greater context. It's a very slow film and I wouldn't recommend it to those seeking a typical romance. The nature of romance in The Last Mistress is similar the peculiar relationships in Milan Kundera's The Unbearable Lightness of Being. This film isn't as impressive as that one but it is a worthy comparison, full of modern application.
(Note: This film is unrated in the United States but the MPAA would probably have rated it NC-17 for explicit sexuality, violence, blood, and drug use) Final Consensus: *** and ½ out of ****