Since there is little talk about "La Prisonnière" when ever there is some kind of documentary or article about Henri-Georges Clouzot , It hasn't been shown on TV for a very long time and so I thought it must be a weak film, probably done with a small budget and only half-heartedly because of bad health. Boy, was I wrong!
After Clouzot's collapse at the filming of "L'Enfer" he had to refrain from filming for some time. He already had a breakdown earlier in his career and his reputation for being excessively obsessed with perfection was very likely the reason for it. He filmed only every few years because he planned his films methodically. After the disaster of "L'Enfer" it looked as if he had to retire because of his health problems. But he recovered and was able to finish one more film.
When you have seen the documentary "L'Enfer de Henri-Georges Clouzot" then you know that all the tests he had made for it have not been in vain. "La Prisonnière" looks very much like another try on "L'Enfer" from a different point of view. The strange lightning tests he made with Romy Schneider, Dany Carrel and Serge Reggiani and the experiments with shapes and optical illusions, that all and much more went into "Le Prisonnière". And here it makes more sense than in "L'Enfer" since the male character is an art collector and gallery owner who exhibits modern designs. From all we can see of the fragments of "L'Enfer" through "L'Enfer de Henri-Georges Clouzot" it would have been a great film. And since so many good ideas could not be used there, he gave them all to "La Prisonnière" - and it is a great film! There are pure cinematic moments in this film too, and I had a feeling that Clouzot realized this would be his last film and he wanted to use everything that he had not tried yet and to finish with a pang.
Interestingly, many reviewers talk at great lengths about the art and modern designs shown in the film and what it might mean. And yes, art is definitely an important part of the story. But the most important and unsettling element is the strong S/M relationship between Stan and José. The optical illusions make one dizzy and represent the sick feeling that José gets when she deals with Stan, or rather, when Stan deals with her. But you can also read it as a hint that we cannot say for sure who attracts whom. While Clouzot wanted to explore the mechanics and obsessions of jealousy in "L'Enfer", now he takes a closer look at sexual fantasies, power and submission. He goes as far as has been possible in the late 60ies and even a good bit beyond that, which makes the movie so strong even when viewed today.
The perversity of the film is almost unmatched, only "Peeping Tom" has a similar sick atmosphere. The title sequence is so unbelievable obscene, it immediately warns you, better leave now, before it gets worse. "Peeping Tom" opens also with a shocking intro that is unparalleled in cinema history. But where "Peeping Tom" spends a lot of time explaining why the main character is acting this way, "La Prisonnière" never cares to even ask. And while Karlheinz Böhm fools most people with his babyface appearance, there is no denying that Laurent Terzieff looks sinister and dangerous.
The comparison of those films reveal that both men attract the attention of a woman who falls in love with them although they feel bad in their presence. But while "Peeping Tom" portrays the woman as pretty normal and sympathetic, it is "La Prisonnière" that shows that José is in fact just the mirror of Stan and she needed Stan to find out.
Both films deal a lot with pictures in the picture. In "Peeping Tom", Karlheinz Böhm is a camera operator at a film company, he films his victims and keeps the films his father had done with him as a child. In "La Prisonnière" Laurent Terzieff (Stan) collects art and owns an art gallery and takes S/M photos of photo models at his home. And Elisabeth Wiener (José) lives with an artist and works as a film cutter (editing a documentary on sexually expolited and abused women). And there are many references to filming and film making, for example in the train ride at the beginning of the film.
I could go on and on but better watch for yourself, I don't want to spoil the experience.
When you have seen the documentary "L'Enfer de Henri-Georges Clouzot" then you know that all the tests he had made for it have not been in vain. "La Prisonnière" looks very much like another try on "L'Enfer" from a different point of view. The strange lightning tests he made with Romy Schneider, Dany Carrel and Serge Reggiani and the experiments with shapes and optical illusions, that all and much more went into "Le Prisonnière". And here it makes more sense than in "L'Enfer" since the male character is an art collector and gallery owner who exhibits modern designs. From all we can see of the fragments of "L'Enfer" through "L'Enfer de Henri-Georges Clouzot" it would have been a great film. And since so many good ideas could not be used there, he gave them all to "La Prisonnière" - and it is a great film! There are pure cinematic moments in this film too, and I had a feeling that Clouzot realized this would be his last film and he wanted to use everything that he had not tried yet and to finish with a pang.
Interestingly, many reviewers talk at great lengths about the art and modern designs shown in the film and what it might mean. And yes, art is definitely an important part of the story. But the most important and unsettling element is the strong S/M relationship between Stan and José. The optical illusions make one dizzy and represent the sick feeling that José gets when she deals with Stan, or rather, when Stan deals with her. But you can also read it as a hint that we cannot say for sure who attracts whom. While Clouzot wanted to explore the mechanics and obsessions of jealousy in "L'Enfer", now he takes a closer look at sexual fantasies, power and submission. He goes as far as has been possible in the late 60ies and even a good bit beyond that, which makes the movie so strong even when viewed today.
The perversity of the film is almost unmatched, only "Peeping Tom" has a similar sick atmosphere. The title sequence is so unbelievable obscene, it immediately warns you, better leave now, before it gets worse. "Peeping Tom" opens also with a shocking intro that is unparalleled in cinema history. But where "Peeping Tom" spends a lot of time explaining why the main character is acting this way, "La Prisonnière" never cares to even ask. And while Karlheinz Böhm fools most people with his babyface appearance, there is no denying that Laurent Terzieff looks sinister and dangerous.
The comparison of those films reveal that both men attract the attention of a woman who falls in love with them although they feel bad in their presence. But while "Peeping Tom" portrays the woman as pretty normal and sympathetic, it is "La Prisonnière" that shows that José is in fact just the mirror of Stan and she needed Stan to find out.
Both films deal a lot with pictures in the picture. In "Peeping Tom", Karlheinz Böhm is a camera operator at a film company, he films his victims and keeps the films his father had done with him as a child. In "La Prisonnière" Laurent Terzieff (Stan) collects art and owns an art gallery and takes S/M photos of photo models at his home. And Elisabeth Wiener (José) lives with an artist and works as a film cutter (editing a documentary on sexually expolited and abused women). And there are many references to filming and film making, for example in the train ride at the beginning of the film.
I could go on and on but better watch for yourself, I don't want to spoil the experience.