The king of transgression is back once more, with a new thrilling, sensual, almost surprisingly historically engaged film that for the most part has unfortunately been reduced by many critics and viewers as his take on ‘a lesbian nun movie’. Now of course when anything is reduced to its simplest description, then of course it is fitting in a way to call Benedetta just that, however perhaps the most shocking thing of all is that Verhoven’s film here is thoughtful, exciting, indeed sexual, but frequently conscious of all its elements and joyously riotous once it reaches its conclusion.
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Verhoven, working again with writer David Birke, brings to the screen Judith C. Brown’s non-fiction work Immodest Acts: the Life of a Lesbian Nun in Renaissance Italy. Now that’s the sort of title that leads one to wonder why you wouldn’t just keep it? But of course after seeing the film, I feel you realise rather quickly why a different title was chosen, that of our titular character, Bendetta, because this film has so much more going for it than the infrequent Lesbian erotica that it places throughout. I would like to now rephrase what I just said, because again I think people are talking about this film in the wrong manner. I feel people are looking at this film in the sense that Verhoven got to have his cake and eat it too. That he managed to make a contemplative and intelligent theological drama, aswell as putting in scenes of erotic Lesbian sensuality throughout to spice up the whole affair. But phrasing things in that way only reduces the film in different ways, it reduces the film in saying that the extended theological conversations need spicing up, as they truly are exciting and intriguing in their own right and could easily hold a whole movie if Verhoven chose it to be that way. It too I think undermines the sensitivity, sensuality and indeed sexuality with which Verhoven presents the pivotal romance of Benedetta and our other chief role in this film Bartolomea. Not only is this romance pivotal, but it is central to the true story Verhoven is telling and a chief part of his tapestry and goal to infuse a tale of chasteness with all the extremity that goes on behind closed doors and in one’s own fantasies.
The entire cast here is on top form, with standouts appearing throughout, but for brevity I will simply discuss our four chief turns, all wonderful in their own right. Lambert Wilson is our supporting villain, a vision of chauvinism of the time and in the establishment that the film uses as its setting. Wilson is tantalisingly evil in this and although not exactly a character of great depth, he is certainly one of great terror. Unlike him, we find our standout supporting turn, I mean come on its Charlotte Rampling, Abbesse Felicitia. Rampling is full of depth, range and great power as always, with moments of great quality found with subtlety and extremity, once you get over the obligatory amazement once more that she is sublime in whatever language she chooses to perform in this time. Daphne Patakia is a vision of ferociousness and almost naive excitement and cheer at times, she is burgeoning and taken in stride and power and lust by our lead; Virginie Efira as the eponymous Benedetta herself. A character of immense machievelinism aswell as of intense righteousness come the conclusion of the piece. She is chaotic and mannered all at the same time and frequently a vision of doubt in the minds of all who surround her and the audience themselves. A brilliant performance incredibly well-judged and well-delivered.
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A transgressive and intelligent 8/10, that puts so many disparate elements at its core – a theological drama of conversations, a sexual erotic drama of forbidden lust, a surrealist piece with visions of a sexy Jesus wielding a sword – that Verhoven’s undoubted talent at balancing seemingly un-balanceable tones and genres into one piece, leads to one of the most invigorating, unique and exciting films of the year. One that may tantalise and entice an audience with ‘cheap’ thrills, but overall paints one of the most original biopics we’ve had in a while.
P.S Maybe I was excited about this being a biopic because- and maybe I’m just stupid- I had no idea it was a biopic, so for me those final title cards played like a glorious final twist!
P.P.S. Please somebody let Paul Verhoven make movies forever at whatever budget he needs, and either with her in them, or in other projects, give Charlotte Rampling more roles and chances to win the Oscar she deserved for 45 Years. Or rather give her everybody’s Oscar’s, for that performance she deserves them all.
- - Thomas Carruthers
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