Thirteen years after World War II, concentration camp survivor Lucia (Charlotte Rampling) and her tormentor Max (Sir Dirk Bogarde), currently the night porter at a Vienna hotel, meet again and fall back into their sado-masochistic relationship.Written by
Ed Sutton <firstname.lastname@example.org>
Liliana Cavani wrote the script in 1970, but couldn't find anyone to finance this movie until the end of 1972. See more »
In the flashback with the ballet dancer, dancing in a kind of gym, there is a shot with a poster of Himmler against a pillar. There are also 2 guards standing on the right. A bit later the same angle and the poster is gone and the guards have disappeared. See more »
He doesn't answer. It's off the hook.
[lights a cigarette]
Tell me, Bert. How long have you known Max?
Let's not talk about it.
You don't, er... dance for him anymore?
I've lost him.
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I saw this film quite by accident last night on IFC and have been walking around in a state of near tears ever since. What really struck me about the story was not the sadomasochistic aspect which I actually found to be rather minor, (He slaps her around a bit and there is a scene where she is chained to a bed), but rather the tenderness and love shown by Max. He calls her "his little girl" throughout the movie and indeed that seems to be the most accurate description of his feelings. I couldn't help thinking of Lolita and indeed it is a similar idea. In both stories the man is both the tormentor and the tormented. Because he is in a position of absolute power of course he is the exploiter, but also it is almost as though he is held captive by "her", the illusive girl/child/women he want to both take care of the way one would a daughter and also penetrate like a lover. And in both stories this proves of course to be impossible as the mans very nature (in one case he is a pedophile, in another a Nazi) prevents it from being so.
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