The Movie Diorama
Psychologically stimulating throughout, Verhoeven portrays a different response to the invasive penetration of rape. One I haven't seen before, and considering the event in question immediately takes place as the film commences, the originality of this perspective bursts through the screen. A businesswoman, leading a video game company, is raped in her own home but decides not to report it due to past incidents with the police. Two vital elements of this production elevate it above the endless stream of psychological thrillers. Verhoeven's astute direction and Huppert's electrifying central performance. She, somehow, maintains a role that demands physical prowess and emotional damage. Her character's work life is so important and hectic, that she has no choice but to continue on despite the horrific crime that took place. Huppert magnificently conveyed rigidity, she was a strong character that you subconsciously admire her, even if her moral compass is slightly skewed. The psychological aspects remained refreshing as Verhoeven slowly peels away the complex layers that shroud this thriller. Plenty of backstory, substantial character development and an array of suspicious individuals, each carrying immorality. Some of the scenes, particularly the sexual encounters, felt reminiscent to 90s erotic thrillers due to the musical score. Old fashioned, yet nostalgically innovative. The problem, and it comes down to personal taste, was with a specific plot point that left the entire third act rather unfocused. Once the culprit is identified, Huppert's character seemingly continues sexual activities and it came across as hyperbolically forced, just to further illustrate her dementedness. It didn't work for me and released the grip that this thriller had on me. Also the relentless wave of unlikable characters really hindered the emotional response the story was trying to achieve. A decent thriller, one that is produced to the highest quality possible, but crumbles far too quickly towards its conclusion.
aarosedi
This film can be best described as an examination of the portrayal of rape in the audio-visual medium, and starts it with just that. The protagonist, Elle, a middle-aged lady, head of a video game company, becomes a victim of a brutal attack by a masked man in her own home. She is then seen later on to be actively critiquing the CG animation medieval fantasy rape scenes being made by her company. She barely has time to go to the hospital and went on to get tested for STD instead and not even bothering to report the incident to the police. Deadlines are tight in the office.Spoilers are necessary for people who are being introduced to this film that should be restricted to that introductory scene if only to serve as a forewarning. The film should be considered synonymous with the word rape. Doing so will not dampen the appreciation for this film for that only just barely scrapes the surface. The meaty aspect of this film is in the methods that Elle used in identifying her predator, and that subversiveness in infusing black comedic elements to a very a dark subject. An example of that would be how the rape at the start of the film would be replayed twice and with each iteration of the horrific, horrendous, hideous incident, the humor pervades. It is weirdly amazing and twisted. That's what I consider the Verhoeven genius. My knowledge of French-language films is fairly limited, don't know the language, and I've only seen Huppert on film once before, Ma mere, where she played a character that's not really very flattering, and my ignorance of her stature in French cinema certainly didn't help. But, man, she's gives a tour-de-force performance portraying an embattled lady having to also contend with domestic and workplace problems.It's sublime how the clever script, the musical score, superb cast and the cute black cat named Marty really helped elevate this thriller into becoming a window to the world of a steadfast but flawed lady that still manages to be such a paragon of resilience.My rating: A-flat.
Leofwine_draca
Forgive me for feeling a frisson of excitement whenever Paul Verhoeven makes a new movie; after all, titles are few and far between these days, and his last I saw, BLACK BOOK, was a well-regarded masterpiece. Not so ELLE, a somewhat convoluted psychological thriller based around the unappetising subject matter of rape. In the hands of the expert director, ELLE becomes a beautifully shot and well-crafted movie, one which remains enjoyable despite the darkness of the subject matter. Isabelle Huppert gives a finely-judged turn as the put-upon woman who reacts unexpectedly when she is raped in her own home one night. The narrative mixes together family drama, mystery, and psychology of an unusual depth, with the end result a film which subverts expectations and proves challenging and unique.
Howlin Wolf
Sex as power. Sex as revenge. Sex as... rehabilitation?If you turn the effects of an ordeal back on your tormentor, then you diminish the hold that they have over you.Verhoeven has always wielded his themes like blunt instruments, and the same is true here... That doesn't make this a bad film, but it's definitely not sensitive, or subtle!
AD
