Joseph Losey established himself as a gifted filmmaker in the late '40s with The Boy with Green Hair, my favorite film from childhood. The thing about genuine artists is they can't kick the truth. Regardless how wayward they become in their obsessive lifestyles or imaginations, their deepest obsession remains with the truth. Losey would eventually make in the early '60s what was up to that point the best film exploration of the sado-masochistic impulse, The Servant, with the great film actor, Dirk Bogarde, and during that same period the effects of child sacrifice in The Damned. He would later explore the very dark dead-end of multiple sexual partners as a way of life in his film adaptation of Mozart's Don Giovanni (1979). But his great masterpiece, in my view, is his penultimate film, La Truite (The Trout, 1985). He must have experienced great satisfaction in knowing that every critic missed the central theme and all the deeper nuances of what he was conveying in the film, most thinking that it was simply a comic film about a cold-hearted bitch, played perfectly by the ever-surprising Isabelle Huppert. I will not dwell on the complexity of what this film is about, only to mention that it involves a precocious child, Frederique, who discovers much too early in life the sado-masochistic matrix of the world and begins her trek on finding ways to adapt to it while not allowing a core innocence to be destroyed by it, to keep an upper-hand in distance, a postmodern Fanny Price who is elevated not by dominance but by a detachment that, in its severance from God, borders on being the ultimate act of cruelty, indifference. She keeps in tow a hyper-sensitive, self-destructive husband who is gay and who, in discovering the dead-ends of sado-masochistic delight, is devastated every second of every moment by looking long and hard into the reality of love lost in the only territory he knows, the valley of the void where he commits to drinking himself to death. The heroine played by Ms. Huppert has only one ally, an elderly Japanese man who has achieved a similar detachment in his life, and they become spiritual friends. This film is not about a bitch, but about "misdirected transcendency" (Girard) in a world that is severed from God.
