amospoe: “Is this slab of opulent claptrap worth any serious consideration? Yes, because

amospoe: “Is this slab of opulent claptrap worth any serious consideration? Yes, because of the talents involved—mainly Mr. Bogarde’s. Sensuality and austerity meet and mingle in the face of this impeccable authoritarian, and his silken moments alternate with harsh ones. He’s best when he’s reserved—his outbursts aren’t always successful—and there are a few too many sly, slow smiles. But he’s skilled at hiding his feelings from the characters around him while revealing all of his emotions to the audience. When it occurs to him to murder someone, his rigid poise lapses, and he becomes socially awkward — slightly embarrassed and ingratiating at the same time. Occasionally, you recall his performance in “The Servant,” but his range is much wider here.Miss Rampling’s elegant sternness and low, bitter voice are suitable for her role, but she’s a one-dimensional actress who can’t convey much beyond tension. Toward the end, she produces one sulky scowl that makes you grateful for a new facial expression. Also, she has the world’s most unconvincing laugh — especially when making love. Credibility is a problem throughout the’ picture—partly because of Miss Rampling’s styles of response. In a scene where she’s literally fettered, someone tries to break into her lover’s apartment, and she rattles her chains like an apprehensive hostess — just as a nervous partygiver may fidget with her jewelry before the guests arrive.“The Night Porter” is handsomely filmed in dark, rich tones. But the movie’s visual virtues are negated by infinite absurdities—particularly by the sentimentality with which the director views this luckless couple. Near the finish, we even catch a whiff of an old Hollywood formula, which asks us to regard these lovers as poignant — because the world won’t allow them to enjoy each other in peace.All in all, the image that recurs is that of sucking a wound. Meanwhile, if you’re in the market for masochism, see Luis Buñuel’s “Belle de Jour” again, or revisit Bernardo Bertolucci’s “The Conformist” for fascist decay. Granted that both are classics. But that’s why “The Night Porter” shouldn’t be allowed to ride on their reputation.”- Nora Sayre, writing in The New York Times about Cavani’s masterpiece (10/2/ ‘74)“I’ve been all over the world and I’ve never seen a statue of a critic.” ― Leonard Bernstein -- source link

More pics about