Anatomie de l'enfer (2004)

reviewed by
David N. Butterworth

A film review by David N. Butterworth
Copyright 2004 David N. Butterworth
*1/2 (out of ****)

Whether it's a porn film masquerading as Art or an Art film masquerading

as porn, one thing's perfectly clear about the new French film "Anatomie de

L'Enfer" ("Anatomy of Hell"). It's hell. And I don't just mean anatomically


Sitting through this pretentious testament to bodily fluids for an interminable

80 minutes you have plenty of time to try and figure out what controversial

writer/director Catherine Breillat ("Fat Girl") was attempting (when you're

not perusing the tantalizing offer for a Heide beach towel on the back of your

box of Jujubes, that is). Is it a serious sociological investigation into what

makes gay men gay? Is it a graphic two-character study of a sexual, sadomasochistic

relationship that's bound to end in tears? Or is it "a daring exploration into

the nature of a fundamentally social and religious taboo: sexuality" according

to the film's publicity department?
     All I can think of is that Breillat thought it was about time Italian

star Rocco Siffredi appeared in a movie without the words "Rocco Siffredi" and

"butt" in the title.

As it turns out, Siffredi is surprisingly decent in the film (relatively

speaking). From an acting standpoint he's called upon to look furtive and intense

and serious and perplexed and noncommittal and inquisitive and smoldering and

this he does with hardly a slip-up. And then there are the physical requirements

of the role that conspire to show off his endowment (his French is halfway decent


Siffredi plays "the man" into whom "the woman" (classical beauty Amira

Casar) literally bumps during the film's opening scene. We're in a gay nightclub

(shades of Gaspar Noé's "Irréversible") and the straight woman has just slit

her wrists. "Why did you do that?" inquires Siffredi, who rushes into the bathroom

to save her. "Because I'm a woman," explains Casar. That deep revelation outspoken

she offers to pay him to observe her as part of a theory that dictates that

all men, whether they be gay or straight, are misogynists who abhor the female

form in its purest state.  Riiiiight.

What follows is a four-night "erotic odyssey" in which Casar lounges around

naked on a bed like an artist's model while Siffredi does the observing. Sometimes

he takes a hands-off approach, seated and sipping on Jack Daniel's over ice

while responding to her obtuse, intellectual (read: idiotic) comments with obtuse,

intellectual (read: idiotic) comments of his own--there's a line about how a

frog feels to be green that made me bust out laughing and startle my fellow

audience member awake. And sometimes said observing is a little more interactive,

occasionally utilizing such props as a lipstick, a garden rake, and cocktails-for-two

(a menstrual Bloody Mary one might call it).

What's apparent throughout much of this, if nothing else (and there really

*is* nothing else), is that the woman is a *very* heavy sleeper.

The language and sexual situations are clearly designed to shock, perhaps

offend, but they're mostly laughable. Interestingly enough, the film makes

an initial disclaimer that a body double is used for Casar's "most intimate

scenes" and that this should be viewed as an extension of her character. I

suspect that Casar simply didn't want Breillat sticking her camera "down there."

The South Koreans did the best thing to "Anatomie de L'Enfer." They banned

David N. Butterworth
Got beef? Visit "La Movie Boeuf"

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