Latin for "The woman
who walks", The Gradiva is a Roman sculpture of a robed woman walking,
distinguishable by the placement and arch of the figure's right foot. This relief
would in 1903 inspire Wilhelm Jensen, a German writer, to scribe a novel of
the same name in which an archeologist discovers a similar work and subsequently
becomes infatuated with its female subject. Jensen’s novel would in turn
inspire Sigmund Freud to pen “Delusion and Dream in Jensen's Gradiva”,
an essay that psychoanalyzed Jensen’s book, providing the prose with greater
popularity. For what would be his final work, writer/director Alain Robbe-Grillet
found similar inspiration in the enduring history of the Gradiva. Using Jensen’s
book and the artist Eugène Delacroix’s time in North Africa as
a jumping off point and unconcerned with typical cinematic conventions, Robbe-Grillet
constructs an erotic mystery that plays liberally with both time and identity.
In GRADIVA, James Wilby (HOWARDS END) plays John Locke, a professor with a fetish
for Orientalism, stationed in Morocco to study the North African works of Eugène
Delacroix. Between ordering his servant/bedside companion Belkis (Dany Verissimo,
DISTRICT B13) around and engaging with the colorful locals, John is made privy
of the existence of two forgotten Delacroix sketchbooks. Such a prospect is
instantly appealing to the historian, who immediately drops everything to pursue
and uncover the lost works. After several strange encounters with members of
a secret organization known as The Golden Triangle, John is allowed to view
the lost Delacroix sketches and in turn becomes fixated with the identity of
a woman who appears regularly throughout the books. His focus shifted, John
begins to fixate on the spellbinding muse (played by Arielle Dombasle) and the
chance encounters they share both in the waking world and in his dreams. Making
his way through the underbelly of Marrakech, John stumbles through time and
space as his search for Gradiva leads him deeper into a mystery that has no
clear answers or easily definable rewards.
It's
probably safe to say that Robbe-Grillet named his protagonist John Locke after
the English philosopher and not Terry O'Quinn's character on "Lost"
but the time traveling television phenomenon does share more than just a character
name with GRADIVA, as both present the viewer with storylines that have no interest
in remaining linear. Where as “Lost” told its fifth season by jumping
back and forth in time, GRADIVA jumps just as sporadically between reality and
dream but without a fade to white and “Whoosh” sound effect to signify
or warn of such transitions. With no desire in clearly defining its place in
time or space, Robbe-Grillet allows GRADIVA to play out as if it is being written
by one of its own characters. Characters which often play multiple roles and
interact seemingly aware of their dual identities save for John who remains
clueless, chasing after a ghost in a manner that echoes a fictional character
chasing after its writer. While I got the impression that the film had something
more to say than my humble mind can muster or totally comprehend, taken as a
trippy, noir thriller the pictures holds up nicely, playing with a number of
ideas, such as the that of dream actors, that I would have liked to have seen
further explored. Fans of Luis Buñuel, Alejandro Jodorowsky and even
David Lynch should find much to enjoy and discuss with GRADIVA, as it blends
art house conventions in a decidedly decadent yet playful manner.
While John Locke runs around looking for answers and inspiration, it is the
women he encounters which linger longest in the mind, leaving little doubt as
to the reason for John being so consistently flustered. Dany Verissimo is sultry
and intoxicating as Belkis, be it fully robed in what appears to be a burlap
sack or chained naked to the bedposts in John’s apartment. Her dark, feminine
figure mimicks the bumps and curves of the Moroccan desert. Why John ever bothered
to leave his home in the first place is a mystery to me. Equally beguiling,
yet not nearly as voluptuous is Arielle Dombasle, who plays both the physical
and ethereal manifestations of Gradiva. Recently cast along side Asia Argento
and Udo Kier in Alejandro Jodorowsky's anticipated return to cinema, KING SHOT,
Arielle is perfectly cast as a walking dream with more control over her actions
and surroundings than that of the person’s mind in which she is inhabiting.
While only one of several Golden Triangle employees, Marie Espinosa’s
porcelain skin shines like an oasis among the rich browns and heavy reds, proving
one more torment and temptation for John to question. You almost feel sympathy
for the guy given the way so many attractive and confident women appear and
disappear without notice thought out the picture.
Providing
his final film proper justice, Mondo Macabro presents GRADIVA in a brand new
anamorphic widescreen (1.85:1) transfer taken directly from the negative. The
print looks brilliant, with nary a blemish or imperfection to be had. Rich in
detail with appropriate skin tones and precise coloring, visually there is very
little to protest about. Audio features the original French language track with
accompanying newly created English subtitles. While the Dolby Digital Stereo
track is quite crisp, allowing for several subtle and some not so subtle transitional
elements to shine, there are a handful of instances in which the subtitle track
fails to translate, predominantly dialogue spoken from John’s “blind’
guide and taxi driver, who bears more than a passing resemblance to Sid Haig.
Special features include cast and crew biographies, including a brief piece
by Robbe-Grillet about the film, the film's original, very erotic theatrical
trailer and a 30 minute interview with Alain Robbe-Grillet. The interview, which
features burned in English subtitles, presents Robbe-Grillet as an intelligent
and likable fellow who, after several different career paths, found himself
as writer and director of both critical acclaim (he was nominated for an Oscar
in 1963 for writing LAST YEAR AT MARIENBAD) and government censorship. Topped
off by their ever-present preview reel, Mondo Macabro has another winner on
their hands, sure to appeal to art house enthusiast and adventures fans of European
erotica alike. (Jason McElreath)