Venus in Furs (1969)

[Mr. Arkadin]

Jess Franco’s horror/revenge thriller hits Underground tonight like Film Noir on acid. Combining voiceover, great music (from Manfred Mann), interesting camerawork, and a unique storyline partly inspired by drug-addled trumpeter Chet Baker, Venus in Furs is his shining moment where realization meets exploitation, creating a work that is both dream and nightmare.

When Jazzman Jimmy Logan (James Darren) discovers the corpse of Wanda Reed (Maria Rohm) murdered by rich socialites in a rough sex game, his fascination with the dead girl creates a Vertigo-like obsession, restoring her to life for love and vengeance. But is she alive? Jimmy’s investigation takes him to the edge, where all answers await.

Set me as a seal upon thine heart, as a seal upon thine arm: for love is strong as death; jealousy is cruel as the grave: the coals thereof are coals of fire, which hath a most vehement flame. Song of Songs 8:6

[ChiO]

Looking so forward to seeing this.

I am tired, I am weary/I could sleep for a thousand years/A thousand dreams that would awake me/Different colors made of tears

Kiss the boot of shiny, shiny leather/Shiny leather in the dark/Tongue of thongs, the belt that does await you/Strike, dear mistress, and cure his heart -- Venus in Furs (Lou Reed via THE VELVET UNDERGROUND)

[Mr. Arkadin]

It's definitely a one of a kind movie. Like most Italian 60's/70's films, images and scoring dominate, giving it a hallucinogenic quality. This is not a drug film however (unless you want a really bad experience!), but an exploration/quest similar to most noir heroes. As to whether or not it could or should be labled as such, is open to debate. It is listed in The Big Book of Noir under 100 essential films, which is enough for me to recommend it.

[Dewey1960]

Watched this incredible film last night as it aired. Over the years I've caught snippets of it here and there without ever really sitting down and watching it straight through. What a revelation! Not only a visually frisky "head" movie, but a deeply artistic one as well. One of the most startling aspects for me was its profound resemblance to one of my favorite American films of the 1970s, Martin Scorsese's MEAN STREETS. Clearly, Scorsese must have seen VENUS IN FURS in some lower Manhattan grind house in 1969 because the subtle visual references are too precise to ignore, even the strong physical resemblance between the two principal actors in each film, James Darren and Harvey Keitel; one of the more striking similarities is the dangerously exotic attraction each of these men have for African American women. Try watching these two films back to back some evening. If ever two seemingly incongruous films were born to be paired up, it is these two. Thanks for pushing VENUS, Ark!

[Mr. Arkadin]

Glad you enjoyed it Mr. D.. You should know that the DVD is letterboxed and contains a beautiful print, which obviously adds to the experience. While I was a bit disappointed with the quality of what TCM showed (fair print in fullscreen), I think it's pretty amazing that they showed it at all. This is one strange film, but at the same time it deals with elements everyone can relate to.

Much of Jimmy Logan's voiceover is almost as poetic as something out of Force of Evil (1948) and his words tie you into the visuals. Lines like "being born all over again" or "Time is like the ocean--you can't hold on to it", grow in significance each time you watch the film.

[ChiO]

A protagonist captured by Fate and losing control, whether he realizes it or not, falling into an obsession with the Angel of Death femme fatale in a nightmarish world where reality, fantasy and death are indistinguishable -- I guess I'd call it a film noir. There would definitely be benefit from another viewing...or four. I do now know that obsession survives death.

Some stray thoughts as I was watching:

How many times did David Lynch watch this? I kept thinking of the tones of BLUE VELVET and MULHOLLAND DR., and Wanda on the beach sure looked like Laura Palmer to me.

Was Klaus Kinski -- he of the most frightening eyes in filmdom -- rehearsing for NOSFERATU?

Dewey thought of MEAN STREETS (another one that's been too long in re-viewing). I saw the Carnivale scenes and thought of IT'S ALL TRUE. And speaking of genius, I wonder how Jesus Franco got along with Orson Welles, and does this mean I have to break down and finally watch the much-maligned Franco edit of Welles' DON QUIXOTE?

I'm betting the Ecumenical Patriarchate of the Greek Orthodox Church was unaware of the appearance of Agia Sophia in some scenes. And are minarets a fair substitute for trains entering tunnels?

[Mr. Arkadin]

So does that mean you liked it?

At the TCM site, whistlingypsy (I think the only poster who "got" this film) actually questioned a connection with Dante’s Divine Comedy (was Wanda his Beatrice?).

Classic film fans might also notice similarities with The Walking Dead (1936), Portrait of Jennie (1948), and Blast of Silence (1960), all of which clearly influenced Franco's masterwork.

While many people were turned off by the sex and violence aspect, it's important to note that the film actually condemns this by the deaths of the participants. Also, consider the fact that Wanda does not kill them, but merely manifests their twisted desires and they destroy themselves. Jimmy's case is different because he loved her, but did not save her when he could have. To him, she becomes what he always fantasized--his lover. Another clue is how the film begins and ends by the sea, emphasizing birth, death and the spiritual world (Fellini's La Strada [1954] has similar symbolism). Rita, the only living person, sings the death knell as the teller of the tale.

There are many more ideas such as the theme of payback and judgment which is clearly reflected in the lyrics to the title song, the actual written story of Venus in Furs playing out in Kinski's death, the dead Wanda tracing lines on a female statue that looks suspiciously like the Venus de Milo, and much more!

While this is a simplistic overview (there is a lot more here--at least I think so), Venus in Furs is a rare example of art and exploitation creating a work of critical depth that continues to astound me each time I see it.

[ChiO]

Yes, Mr. Ark, I liked it.

It was Jimmy's situation that had me scratching my head, so thank you for pointing out that he did not save her (or at least try to save her) when he had the opportunity.

I must admit that I found the symbolism of the crashing waves a bit hackneyed, even for 1969, but that's a picky point for an otherwise engaging film.

For anyone on the fence about watching this because of the sex and violence aspect, do not let that concern stop you. I am extremely squeamish regarding up-close-and-personal violence, especially with sharp objects, but I had no problem here. And the sex is very tame by today's standards ---plenty of room is left for the imagination. As for the connection between sex and violence...that connection is hardly new, but here I found it less to be about sex-violence than obsession-death.

Well worth repeated viewing.

[Mr. Arkadin]

Yes, Mr. Ark, I liked it.

It was Jimmy's situation that had me scratching my head, so thank you for pointing out that he did not save her (or at least try to save her) when he had the opportunity.

I think this is one of the strongest points of the film, which seems to imply that evil is not just what a person does, but also the good which is left undone. Venus in Furs links these ideas by including Jimmy among the dead and suggesting that every action (or lack of one) has effect and is subject to judgment.