Venus in Fur

Roman Polanski – 2014 – France

While I felt that Polanski’s previous film, Carnage (2011), (also a stage-bound theatrical adaptation), was one of his weaker films, primarily due to its dearth of – (for lack of a better word) – Polanskian elements, Venus in Fur is comparably a welcome return to the comically surreal and erotic cat-and-mouse games that characterize his best films.  Based on David Ives’ play that was set in New York City, Polanski translates it to Paris.  Thomas Novacheck (Mathieu Almaric) is a playwright and first-time director who is up to his ears mounting an adaptation of Leopold von Sacher-Masoch’s novel Venus in Fur, which became a classic of erotic literature, with the second part of Sacher-Masoch’s last name, of course, putting the M in ‘S&M’).  Frustrated with the trendy and capricious actresses he’s been auditioning for the lead role of ‘Vanda,’ Thomas is stunned by a latecomer, coincidentally also named Vanda (Emmanuelle Seigner), who proceeds to not only demonstrate a profound knowledge of the original text but gives remarkably potent readings of the dialogue.  A dance of seduction commences that is equally philosophical and sensual, with Thomas the hapless victim of Vanda’s many contemptuous tirades about the inherent sexism in Sacher-Masoch’s novel and in Thomas’ play, which he admittedly has injected with autobiographical elements.  Rarely have I been less concerned (or even aware) that the entire film is literally a two-person dialogue.  The situation doesn’t lend itself to many cinematic options.  But that’s why Polanski is a master; one of a dying breed.  He can make it all compelling without resorting to gimmicks.  The casting is eccentric and yet flawless, with Almaric being a dead-ringer for Polanski himself in younger days, and Seigner, who is Polanski’s real-life wife, by now a veteran of such mysterious roles in her husband’s films, such as Bitter Moon (1992) and The Ninth Gate (1999).