The Night Porter is one of the most bizarre psychodramas in the history of film, using the Holocaust as a dreamy, abstract backdrop for a toxic romance between a former SS officer (Dirk Bogarde) and the “little girl” (Charlotte Rampling) he isolated, humiliated, and raped in a Nazi concentration camp. If that sounds absolutely outrageous, that was surely part of the design. This wasn’t Ilsa: She Wolf of the SS or another in the short-lived cycle of Nazi-themed exploitation pictures. This was Italian director Liliana Cavani’s first English-language feature, and Bogarde and Rampling were English-language stars. In order to recoup, The Night Porter would need to be provocative. Cavani delivered on that score. European critics are said to have taken the movie’s sociopolitical context seriously, but upon arrival in New York its outré imagery generated a mix of critical scorn and mockery that, ironically, helped earn it big returns at the box office. (Vincent Canby’s pan deriding it as “romantic pornography” was highlighted in the advertising.) If you know nothing else about the film, you probably know its signature image–Rampling, wearing black leather gloves and an SS officer’s cap, her bare breasts framed by the suspenders holding up a pair of baggy pinstriped trousers, tossing a Mona Lisa smile at the camera. That key art has kept The Night Porter in demand for more than forty years now, from arthouses and VHS tapes to DVD and now Blu-ray releases under the Criterion imprimatur.
My review of The Counterfeiters [on Blu-ray Disc] is online over at Filmfreakcentral.net.
This year’s winner of the Best Foreign Language Film Oscar, The Counterfeiters (Die Fälscher) is defined in equal terms by what it is and what it isn’t. It is a
Holocaust survivor’s yarn told with a certain playfulness and no lack
of moral consideration, but it is not really a concentration-camp
movie; mostly, it feels like a prison caper yarn that happens to take
place in Sachsenhausen. The film’s weight comes from the things we know
about but cannot see within the frame: those haunting images of
emaciated Jews, the walking-dead stares of the prisoners consigned to
the gas chambers and crematoria, the tragedy of systematic genocide.