Side stepping the politics of genre, I would second Andrew in recommending Michael
Haneke's LA Pianiste, with Isabel Huppert, for those who genuinely are interested
in understanding the emotional pathology of sado-masochism. Far superior to the
mechanics of the Marquis de Sade's writing, or the endless rococo of embellishers
of the cruel, this is not a film for the faint of heart. What is especially masterful,
is that Haneke removes the otherness from Hupert while maintaining the viewers sense
of alienation from and horror for her situation and behavior. There is no second-rate
attempt to cultivate the idea of a sadomasochist lurking in all of us. On the contrary,
the audience experiences her reality as the profoundly abnormal condition it is;
yet premised on the kind of emotional suffering that we can all at least have some compassion
and identification with. I had never been able to understand how people could do
certain things to themselves or others until seeing this film. It is my opinion
that it should be viewed by all practicing psychologists and psychiatrists who deal
with people at risk to themselves or others. Anyone concerned with film and psychology
would want to make this a must see.
Polanski's The Pianist, is quite a different matter. It seems non-controversial
to say that Holocaust films are a full-blown genre. Having grown up with people
who lost some, many, or most of their families during WWII and the Holocaust, I
am not likely to forget, or let history get swept under the rug. However, I intend
to make this particular film my last of the dozens seen from the genre, and say
. . . enough! Three to six seems a modern day requirement. More than a dozen, unhealthy
[which I do not say with a capital H, but more in the same vein as suggesting to
someone who is depressed to stop reading so many depressing books].
Susanna Chandler
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