La prisonnière (1968)

User Rating:

6.6/10   

Director:

Henri-Georges Clouzot

Writers:

Henri-Georges Clouzot (scenario, adaptation and dialogue)
Monique Lange (scenario collaborator) ...

Release Date:

20 November 1968 (France)

Genre:

Drama

Plot:

Stanislas Hassler blazes the development of modern art in his gallery, packed with works of surprising shapes...

Plot Keywords:

Female Nudity | Photographer | Voyeurism

Cast

Laurent Terzieff	...	Stanislas Hassler
Elisabeth Wiener	...	Josée
Bernard Fresson	...	Gilbert Moreau
Dany Carrel	...	Maguy
Michel Etcheverry	...	Le chirurgien
Claude Piéplu	...	Le père de Josée
Noëlle Adam	...	La mère de Josée
Daniel Rivière	...	Maurice
Annie Fargue
Germaine Delbat	...	La gérante
Gilberte Géniat	...	La patronne de l'auberge
Darío Moreno	...	Sala

Also Known As:

Female Prisoner
La prigioniera (Italy)
Woman in Chains (USA)

Runtime:

106 min

Country:

France | Italy

Language:

French

Color:

Color (Eastmancolor)

Sound Mix:

Mono

Certification:

Finland:K-16 | Sweden:15 | USA:R

Filming Locations:

Paris, France

Company:

Les Films Corona

Soundtrack:

Trapèze volant

Portrayal of the sexes

La Prisonniere tells the story of Stan, a man fascinated by the concept of submission and his experimentation with his own capacity to dominate. He manifests this fascination through photographing women as he instructs them to undress. When the rather conservative Jose decides she would like to pose for him she finds herself caught in a tormenting struggle between the shame and the pleasure she experiences through the act of submission. Here the film analyses the relationship between voyeur and 'viewed', which at first is hindered by her fear and instinctive prudence but later softens into mutual respect and affection. From the outset women are portrayed as sexual objects as Stan fingers his naked dolls in the opening credits in the same way as he poses his models, as if inanimate. However the images of naked women seen throughout, as well as Stan's treatment of his models, are essentially respectful and adoring rather than degrading. The extended motif of repetition, presented in the pattern and movement of the artwork, reflections in mirrors and the process of reproduction suggested by the photos and the printing press, emulate the intensity and invasiveness of Stans voyeurism. At the same time the optical illusions, played on the the gallery scenes, coupled with their emotive sound effects seem to hint at Jose's mental and emotional confusion towards her role as the servile model. The character of Stan is overtly sexual in his masculinity, authority and seemingly in his mere presence as he appears to cause Maguy to climax during her photo shoot. While he is tender and genuine in his love for Jose, he remains dominant and in control by not letting on to her. I found this film beautiful to watch despite its disturbing subject matter and I believe it is an emotive representation of how women can be tortured as well as gratified through both their sexual oppression and freedom.