Repulsion New

8/3/2019 Repulsion New

1/18

>>12 SERIESISSUE #01

JAN 12

>>12 SERIESISSUE #01

JAN 12


2/18

Rep

ulsio

n


3/18

Contents

p.1 Plot

p.3 The Cast

p.5 Trivia

p.9 The Eye Boundary by Didier Truffot

-- Issue one


4/18

Repulsion is a 1965 British psychologicalthriller lm directed by Rman Planki,based on a scenario by Grard Brachand Rman Planki. It wa Plankirt Enlih lanae lm, and wa ht

in Britain, a ch bein hi ecnd lmmade tide hi natie Pland. The catinclde Catherine Denee, Ian Hendry,

John Fraser and Yvonne Furneaux.Planki himelf make a came a apn player in a tri f treet bker.

Carole Ledoux (Catherine Deneuve) isa yn Belian manicrit wh liein Kenintn, Lndn, with her iterHelen (Ynne Frnea). Carl eemhy and interact with men awkwardly.When Helen leae n a hliday t Italywith her married byfriend, Michael (IanHendry), Carl appear ditracted at wrk,refe t leae her apartment, leae araw, kinned rabbit t t rt, and eehallcinatin, rt f the wall crackin,then reachin t with hand t rab andattack her, and nally f a man breakinin and raping her.

Plot

p.1


5/18

When Clin (Jhn Fraer), a wld-be itr whm he ha rejected, break intthe at, he blden him t death with a candletick and dmp the bdy intthe erwin bath. Later, the landlrd (Patrick Wymark) arrie fr the late rent.Carl pay him and at rt jt it n the fa, tarin int pace, a he remark nthe tate f the apartment and ie her water t drink. Bt when he trie t frcehimelf n her, he lahe him t death with a traiht razr.

When Helen retrn, he dicer the dead men bdie and nd Carl hiddennder her bed. Carl appear catatnic. A neihbr arrie and call fr help, thecamera lwly pan t a family phtraph n the mantel, zmin in n Carlface a a child. Her eye are rieted t the man net t her, and he appear t beafraid f him.p.

2


6/18

p. 3


7/18

CATHERINE DENEuvE As CARoLE LEDouxYvoNNE FuRNEAux As HLNE/HELEN LEDouxIAN HENDRY As MICHAEL

JoHN FRAsER As CoLINPATRICK WYMARK As LANDLoRDRENEE HousToN As MIss BALCH

vALERIE TAYLoR As MADAME DENIsEJAMEs vILLIERs As JoHNHELEN FRAsER As BRIDgETHugH FuTCHER As REggIEMoNICA MERLIN As MRs. RENDLEsHAMIMogEN gRAHAM As MANICuRIsTMIKE PRATT As WoRKMAN

p. 4

The Cast


8/18

a.Thislm,alonwithRosem

arysBabyandLelocataire,fo

rmsaloosetriloyby

RomanPolanskiaboutthehor

rorsofapartment/citydwelli

n.

b.ThescenewhereCatherineDene

uvestumblesacrossthebrid

eanddownthestreet

waslmedatHammersmithBride,London.

c.Featurestherstdepiction

offemaleorasm(soundon

ly)tobepassedbytheBritish

BoardofFilmCensors.

d.RomanPolanskisrstEn

lish-lanuaelm.

e.Premierevotedthismovie

asoneofThe25MostDan

erousMovies.

f.Inhisautobioraph

y,RomanPolanskiadmitted

thatheandco-writergrard

Brach

cameupwiththelmsoastohaveacommercialsu

ccesswhichwouldthenhelpt

hem

fundthemakinofCul-de-sac

,amuchmorepersonalprojectforthem.

p. 5


9/18

Trivia

p. 6


10/18

p.7


11/18

sa reemblanceest-elle doncquelquechose qui estindfectiblementenferm en

li-mme? Cemnde, ceta flie, ereemble linni; cet nhorreur

p.8


12/18

sene f cinema

The Eye Boundary:Repulsion

Didier Truffot

p.9


13/18

Cnnement tand a a recrrin theme in Planki Replin. Beynd peratin a a meanf ditribtin pace, it can be aid t act a an aethetic and narratie trctre, feedinthe lm a a whle. If ch a principle already appear in the hi-cl called Knife in theWater (1962), the directr rt fll-lenth lm, it i in Replin that it act a a ratiemanifet. Carl (Catherine Denee), a yn, litary, cled-ff wman ffer frm thepalpable ymptm f chizphrenia. she radally ht herelf p in her at and her trble

deelp mre and mre ntil they indce her t cmmit a mrder. A in The Tenant (1976),Replin try fce n a character wh ffer frm mental prblem, enablin the lmt create an etreme fc n the repreentatin f cnnement. The lm frm and it ialtyle try t impe thi prblematic n the try material, creatin an inner eplratin fthe character and her qetinable relatin t the wrld. A crde ratin f cnnementand litde i ineitable in rder t ie a cinematic frm t the pyche. s, what de theprinciple f cnnement allw the directr t d and what are it cneqence and aetheticmanifetatin?

Cnnement, which pread frm the character t the lm, play a reat part in inertin thefantatic int thi nearly clinical cae tdy f chizphrenia. Th, if Replin refer t thehrrr enre, thrh it cnfrntatin between what i real and what i pernatral, it i mre

cncerned with a prce f analyi than a et f cae. Planki link hrrr t hi herineincreain lneline in rder t create a bjectie framewrk which miht ie a hape ta fear een and heard, nt frm an eternal cae bt frm an internal ne. Cneqently,cnnement beet inanity and i aciated with bein, a dal relatin bth t the imaeand bein. In Replin, thi theme i encaplated by the penin imae f the eye. An eye,inherited frm the Hitchcckian niere f verti (1958) and Pych (1960), i centred andappears in a very large close-up.

The title, Replin, cme t f the eye iri. The editin etablihe a rt aciatin: whattand t aaint the eye already mean repnance. The credit are rnnin: the mltiplicityf wrd dirderly circlatin i pped t the near ity and nene f the iri circle.

The eyeball, adptin thi lic f cnfin, tter aaint the eye-cket which are tillimpaie. Thi internal mement eem t be deid f lic and mtiatin. Indeed, thezm end n Carl epreinle, abent face, a he litlely hld a ctmer hand tmanicre it. Her nditrbed, lifele face, i th clely related t thi cld eye. Thi cle-prepreent Carl enirnment which i ially ditrted. The lm i th nt rnded innarratie bjectiity bt in an aethetic f bjectiity, made f diprprtin and limit. Carlniere anihe int the natre f thi cle-p which ranie the lm accrdin t threeprinciples.

The principle f nicity: the ap f cnnementMichael (Ian Hendry), wh i in le with Carl, can nly appear in the frame accrdint a lic f cmpartmentaliatin. Fr eample, he i hwn callin t her frm behind awindwpane r within a phne b. The partitin f pace at the centre f their relatinhipnly infer a pible meetin in cmpartmentalied pace. Th, later in the lm, Carl will

perpetate the cnditin f thi dinin by immerin Michael crpe int the bathtb afterkillin him. Carl bdy i an area r eld that dent allw intrin. Thi area can neitherbe reached, ndertd, nr een frm tide, and inerely the he encnter are nablet perceie her prblem. In Replin, there i a tendency t emphaie the prblem f Carlinner-elf which i endanered by eteririty. Her bdy pride the main repreentatin f thi.Carl attractin t withdrawin frm the wrld i cntrated t her facinatin fr peninnt it. The eqence in which Michael nd her ittin n a bench while btinately tarinat the cracked macadam, eche Carl reqet, which may eem triial at rt, t repairthe re in the kitchen. In the ame way, the air ent in her at pzzle her a he linerer it eeral time. Thee theme and mtif are the bndarie f a cled niere andilltrate the cncentrated anih caed by her attempt at withdrawal. Detail ain traneimprtance, markin an bein. The re can be aciated with the leical eld f le

and i pzzlin ince it refer t the aniety f eality. Michael threaten t mah the dr inif Carl dent pen it: he reard thi etre a eqialent t hi attempt t le her becaerape, accrdin t Carl inclie ytem, can indifferently cnit f either a ilatin f herbdy r the pace he ccpie. Fr eample, the rt tae f her nihtmare abt rape takeplace in a wardrbe, thrh which a crack f liht lter and which wa, then, ditrbed byher arer min f a piece f frnitre. After killin Michael, Carl nail a bard t the

p.10


14/18

bttm f the frnt dr. Thi i nt mch an act t hide her mrder a it i t heal the ctwhich ha been made t her pace. The areie ccpatin f pace dent ar rape, itmltiplie it.

The principle of exteriorisation: the eye boundarygradally the lm cncentrate n Carl and ie p the implicatin cntained in the penincle-p in term f the limited aethetic framewrk it ffer cncernin nd and iin. Atthi pint, the lm pace i cnned t three place: the beaty parlr where Carl wrk,the treet he take t there, and the at. Bt thi nity i nly mmentary, indlin inpace int which Carl nally anihe. The atmatic repetitin f thee pace, aciatedwith Carl abent lk, create a clatrphbic ytem, in which the difference betweeninide and tide becme cnfed. Each f them i characteried by a clin-ff f pace.

The cbic rm at wrk dnt pen nt the tide wrld and the trackin ht cntained inthe eqence hwin her jrney t and frm wrk, bnd her t the limit f what we een the creen. The tide wrld nly eit thrh the bjectie tat f the place hwn;aethetically peakin, the lm priritie thi clin-ff. Th, the arden, een frm Carlat, i adjined t a cliter. The tide wrld create, arnd Carl, an area that i mrepaci than the ne f her at, bt the effect f her phbia are etended a a kind f mie

en abyme. otide ilence becme a mean f lckin pace. Therefre, hallcinatin nlyadd t the ene f cled-ff pace ecreted in the real wrld. Fr eample, in the eqence inwhich Carl e t the drawin-rm, the wide-anle ht ie the feelin that the ceilin ilwered, repreentin, accrdin t thi epreinit mde, the prei clin dwn f pace.

The principle f manifyin: the face defaced by cnnementThe cled pace created by the hallcinatin frm, thrh cneity and ditrtin, aperpectie which i de-realiin. Epreinit lihtin chane the cmpitin f pace inrder t re-intrdce the partiality f the cle-p. spatial ynchrniatin i imprtant thatit eclde ff-camera perpectie, freqently interatin Carl int her wn bjectie ht.Carl lk at her reectin in a kettle, and then the rm pen t arnd her face whichha becme a rteqe featre in the frernd. Thi merin with pace pre the yn

wman mental aberratin. The patial ercrwdin, the diprprtin f bject and thechanin bndarie f the frame, bild p a pace which i all the mre enrm ince thebdy i bmitted t it. Cle-p let perceie, in the depth f the eye, a hapele reectin,a cne pace nt referrin t the reere-ht bt t a mental prce f iin. An inner,impenetrable bjectiity anihe int the eye netrality. A an impenetrable macla f theppil, thi pint repreent the mark f an immene pace. The freeen reere-ht denteit r ccr, the camera cle in n the eternal area f the eyeball and i in deep cntactwith the eye in rder t eat Carl p, frm the inide. If Carl chizphrenia i aciatedwith a ntin f immbility created thrh cnnement, it al indce an internal mementcaed by the metamrphi f bdie. Thi prre tward ilatin and cmpleteretreat qetin, in the lat rert, death and it phyical cneqence; that-i-t-ay, thedecmpitin f the bdy.

Thee ari tae are diided p in the credit title f Replin. The zm t cme t anend n a fll ht f Carl face, which, nder the peritent inence f the cle-p, leaethe eye, which wa nt centred befre, in the dark. The ther eye, which i th cled in bydarkne, ie an ill-lkin tint t the perfect face, etablihe a ap and di a hle intthe repreentatin. The ht chane the cmplein f Carl face and reeal her madne.

Thi ditrtin indced in pace, pread t the face a a frm f diie. Later, Carl i alnein her at. she i traely made-p, a wide-anle cle-p lenthenin her milin facein rder t chane it int a rimace. under the credit, pecic lihtin techniqe create adblin effect that i eched later in the lm by anther face, belnin t a ctmer, ceredby a cracked clay mak. Lyin and nmin, her eye hidden by aleli, her kll cered bya cap and her bdy wrapped in a piece f white clth, the lm retrn t the mmmied iaef a dead bdy. The tw face, which are cpled thrh editin, reemble each ther thrh

bth their abence and the chane they nder, nderlinin, th, an eltin, whichthrh plittin int tw, i aid t be epreed by the l f the face. Een if it i diided bythe platicity f the ht r ien an ech thrh editin, the face e beynd the frame andle itelf in the pan f repreentatin.

p. 11


15/18

In Replin, frm the credit nward, the face i pilt r ditrted by it cnnement inidethe frame. Carl chizphrenia i in keepin with a cnnectin t pace in which realitychane fr the benet f ditrtin, f rt. Th, the fd he allw t mldy i a platicrepreentatin f thi lw deteriratin. Thi prce, which cnit in redcin the bdyt nthin, i cneyed by the nal zm int and cle-p n the pht. Endin n the eyef Carl when he wa jt a child, it ltimately allw t ee nthin bt the rain fthe pictre. The reemblance captred here accmplihe it lat tae f defacement andptrefactin ntil the bdy itelf diappear. A in the beinnin, the eye cney nthin; itmean death in life. The zm int the family prtrait, which draw Carl near ntil it ilateher eye, trie t deeply int the myterie f her inner-elf. Here, hweer, the eye dent let ee the imae f the pat and the ht keep it ecret. Thee tw mement hw nly aacm and the lack f a pychanalytical eplanatin f thi bein. The family prtrait dentplace Carl within a try, it ilate her; it int the eence and eplanatin f her prblemand i nly ed in rder t cle her enima. It de nt inal the retrn f an idealiedpat becae the child i already lkin at her wn elewhere, and nthin imprtant markthe ditinctin between her childhd tate and her adlt ne. It pre Carl lneline aa ptlate, a methin which ha alway eited. A it draw nearer t her eye, the frame

play a reat part in ilatin and driin her behind the wall f her inanity, f her ditrbedmentality. Thi prtrait lcate her in an eltinary abence, cnrmin the circlar trctref the lm which tart and end with the cle-p f an eye. The recrrence f the rt htwall Carl in, ht her in darkne and abtractin. It may be the rean why Replin iften cnidered a an bjectie repreentatin f a cae f chizphrenia: there i n pibleempathy tward Carl, n identicatin and n recnitin in her inanity; he remain deidf emtin becae f her er-cnnement. Therefre, the aethetic f the lm dent aim ateplainin the material manifetatin f cnnement bt at checkin their ity.

Planki carrie cnnement t aethetic and mental parym in rder t aciate it t anneaine f bein. The character lneline and anih t lie, becme itatin f hrrr,cmbinin the aethetic f the fantatic with a prely pychanalytical applicatin. A a relt,

Replin make cnnement it tpic a t etract the ablte acm. If the ntin fhrrr i brn in cnnement, thi thematic chice me it tward the nn-factal, twardabence and the mental tate. The al i t let ee thi mental tate, t cnider it in it cleand impenetrable apect, that-i-t-ay, frm an eternal pint-f-iew. Here, cnnement ietracted frm an aethetic f enatin and diprprtin, plnin the lm int the depth flitde and reemblance.

p.12


16/18

W

hydid

youth

rowM

ichaels

t

hing

sawa

y?

p. 13


17/18

p. 14


18/18

12 seriesIssue one

Repusion

Documents

Repulsion New