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.
UPDATE 8/29: My wife jumped on me after reading this for the suggestion that the act of taking scalps from victims was somehow endemic to the Native American people. While she agreed that’s how it’s presented in this film, she told me that the Europeans introduced the practice to indigenous Americans, and not the other way around. I was not too surprised at this, though it’s certainly contrary to the popular narrative, and promised to find a source online and add a footnote. Jonathan Rosenbaum, perhaps the film’s most notable detractor, beat me to it. It doesn’t change my opinion of the film — Tarantino’s riffing on film history rather than real history, and Aldo Raine probably wouldn’t know the difference, Apache blood or no — but I agree that it’s well worth noting.
Among the most satisfying of exploitation subgenres, for those who swing that way, is the rape-revenge picture. The basic structure is well suited to the grindhouse feature — it offers an excuse to stage scenes of sexual violence (the “rape” portion of the formula) alongside images of even more graphic, brutal violence (the “revenge”) while packaging the exercise as both moral lesson and wish-fulfillment fantasy. The appeal of the story is fairly primal — an early prototype for this sort of thing, Wes Craven’s Last House on the Left, was based on The Virgin Spring, a 1960 Ingmar Bergman film that had its own roots in a centuries-old Swedish folk song. As folk tale, the rape-revenge yarn functions as a stern warning, perhaps first appealing to an imagined audience’s prurience and sadism with the story of a violation, then warning them about the civilized world’s uniform, punitive, and perhaps grisly response to such an assault. As film, the subject matter is even more charged. Given feminist ideas about the male gaze and the embedded sexism of 100 years of film history, the idea of staging a rape for movie cameras, in a film destined to reach a (presumably base and horny) grindhouse audience, has the stench of amorality (if not outright immorality) about it.
Flame & Citron
In the obvious shorthand, Flame and Citron is Black Book meets Munich. Like Steven Spielberg’s Munich, it’s a sober thriller about how political assassins occupy uneasy moral ground, especially when they’re driven by a lust for vengeance. And, like Paul Verhoeven’s Black Book, it’s a World War II thriller about sex and betrayal and how hard it is to trust anyone in occupied territory. I think I prefer both of those movies to this one, but Flame and Citron has its own muscles to flex. In its cool, detached regard for the predicament its protagonists find themselves in, it’s probably tougher than either of them.
Paul Verhoeven has received some of the stupider film reviews in recent history. I’m still floored by the number of people who see Robocop as an endorsement of, rather than satire on, the idea of unfettered and uncompromising law enforcement. Robocop may be the ultimate bad L.A. Cop, but the storyline, which had Peter Weller playing an armored cyborg struggling to regain his humanity, was a far cry from Dirty Harry wish-fulfillment. (I’m assuming Verhoeven needn’t be held accountable here for any number of unthinking meatheads who might have taken away from the film some kind of inspirational message about the validity of Rodney King tactics among police officers, but some viewers would doubtless argue that point.)