I have no idea how this film sounds in its English version, and have made my choice not to watch it. Arguably the only version that is correct for the soundscape of this superb film is French and Italian, being appropriate to the sound of the characters voices in Jean Genet's scenario. Booed off the screen, reviled by critics of its time ( and even now in some quarters ) it should, and is almost getting a reasoned second look. And it is well worth seeing for its transgressive nature of betrayed desire and revenge, so appropriate to Genet's work in general. It is not a film that begs to be liked, as it deals with a tortured woman desiring an Italian worker in a French village that hates immigrant workers. Believing he does not respond to her she sets a trap for him, literally with the destructive elements of fire and water. I will let other reviewers supply the rest of the plot. It is a film full of what the French call ' le mal ' ( translated into the too Manichean ' evil ' in English. ) Genet postulates that both collectively and individually we are all capable of it, and even the innocent teenager in the film is capable of destroying an animal he loves. All of the actors give excellent performances, and Jeanne Moreau is perfect as the avenging sadistic/masochistic woman who wreaks havoc in her surroundings. This performance is equal to any of the large hand full of truly great ones which have made her a legend in the cinema. I love this film for its framed images of outstanding visual beauty, for its cold eroticism and above all for Tony Richardson's decision to make it in black and white, and above all for its determined insistence on not using overlaid music. Instead he uses the sound of fire, of water. Of storm and the passionate sexual scenes in the wood scape surroundings is degradingly highlighted by natural sound. A unique film and detested or loved it will I hope reclaim its position in the forefront of that overused term, a great masterpiece.
Review of Mademoiselle
