«Les Proies» and its murderous charm

Cinema Wednesdays - Loris S. Musumeci

A partner section of Cinérevue, NeuchVox's film program. Next live: Monday, October 2, 2017, 8:30 pm - 9:00 pm

«The enemy, as an individual, has surprises in store for us.»

Virginia, 1864. The Civil War smokes the American landscape. Union Corporal John McBurney (Colin Farrell) is down. Wounded. A little girl in a plaid dress stands in front of him. She is startled. The characters introduce themselves: her name is Amy (Oona Laurence). Her boarding school is nearby. Moved by natural charity, she helps the soldier up and into the school.

In the playground, she calls for help. Miss Martha (Nicole Kidman), the school authority, and the girls arrive. Dilemma: hand over this «blue belly» or take charge, as Christian morality would demand? The second option wins out, for better or worse. For better, there's the encounter with a man whose feminine inner circle is stirred; for worse, the inevitable passions.

Female feelings

Adapted from the novel by Thomas P. Cullinan, Les Proies by Sofia Coppola breaks new ground compared to the first time the theme was brought to film. Whereas Don Siegel, in 1971, told the story through the eyes of the corporal, the director, heir to Francis Ford, sees the drama through the eyes of the women. The result is a film essentially about desire. Gradually, but without waiting too long, John has a blatant effect on all the boarders around him. From the five students, to the headmistress, to the teacher Miss Edwina (Kirsten Dunst).

Attraction, a taboo, is revealed in the younger members of the family as friendship for the captive of his wounds. Alicia (Elle Fanning), already in her late teens, immediately takes a more erotic turn, driven by the need to please. As for Edwina, intimidation leaves her almost speechless, even though she seems the lucky choice of the only man in the house. As for Martha, sternness takes the place of tenderness, to keep a straight face and avoid betraying herself in the shadow of lust.

Metamorphoses

«I must remind you that you are not our guest. You're an unwelcome visitor,» she says by way of welcome. Yet, as the days go by, her face softens, following in the footsteps of all the others. They make themselves beautiful, wear jewels and dresses for special occasions, and constantly look for pretexts to exchange a few words with their McBurney. In short, the characters undergo a metamorphosis. The same goes for the main character: from being bearded, ugly and repulsive at first, he becomes attractive after shaving.

These blatant changes are part of the excellent, Cannes award-winning direction, supported by sublime photography. Thus, from the grayish mist that opens Les Proies beneath an obscure tunnel of bent trees, the sky becomes clear under the soft sunlight, elevated to the light song of birds. The delicacy of the image, on the other hand, remains at every moment of the feature; sometimes drawn by the tragic tension, sometimes relaxed by the soothing relationship between the prey of desire. The dim candlelight perfectly reflects this. At one and the same time, they evoke the reassuring warmth of home and the most hateful distrust of strangers.

Sensuality on screen

On the other hand, scenes in a pictorial style à la Barry Lyndon, In this way, the objects of noble matter and their omnipresent resonances nourish the script. A harmony is formed between the latter and the staging. A coup de grâce for the director, who succeeds in making photography and sound effects speak independently of a text that retains its importance. All this, under the occasional notes of music or song, such as the bewitching Lorena.

This artistic ensemble presented on screen is at the service of sensuality. Controlled slowness creates a host of fantasies, with ever fuller lips and even more intense gazes, without anything concrete happening. It's clear that the viewer's desire is rising.

Sofia Coppola has certainly succeeded. Not to mention her ability, through the focus of her cameras, to create the impression of being watched, but also of being an actor in an unhealthy voyeurism. Executioner and victim, even the most seasoned cinephile can't resist the paradox into which these dramatic figures - especially the one played by Nicole Kidman - draw him. Les Proies signals the presence of an authentic work of art. A pleasure for the eyes, so subtle is the staging, and the charm of the women innocently deadly.

«I never meant you any harm.»

Write to the author : loris.musumeci@leregardlibre.com

Photo credit: © acsta.net