Isabelle in the bath
The personal sexuality of actors and stars may be the only mystery they are actually allowed.
Topics: Sex, Love and Sex, Life News
As I sketched last week in my outline of Michael Haneke’s film “The Piano Teacher,” I wondered over the precise nature of actress Isabelle Huppert’s beauty in the lead role, and whether her masochistic character was happy or unhappy. And I tried to suggest that the fate or predicament of Erika was significantly affected by the hiring in of Huppert. After all, in the scene where Huppert steps into her bath, clad in just a loose robe, and, with mirror and razor, cuts at Erika’s sexual parts, it’s hard not to take on the question of who is hurting whom? And why? And yes, she might be shaving herself, or trimming Erika’s pubic hair, but there is blood in the bath.
No, it’s not Huppert’s blood, I’m sure; and Erika is what you might call a bloodless creation — though not necessarily “anemic.” The blood is just red, there in the bath, or poured in by some out-of-sight props person so that it may be discovered eventually, as evidence of self-inflicted damage.
Still, it’s a tricky moment to judge. Huppert won the acting prize at Cannes for “The Piano Teacher,” and there was a lot of talk about how brave the performance was. No, the suggestion of courage isn’t because Huppert had to cut herself to get at Erika’s pudenda. I think it’s more on account of a kind of self-revelation — the willingness of the actress to play in such nakedly emotional scenes. But “nakedly emotional” makes you think you can actually see what is happening. Whereas in that bath scene, no matter that Erika uses a mirror to see exactly, we don’t see what she is doing. The camera does not track and tilt and squirm like a male member, to get a better view, to gain access. There is not even a cutaway close-up of the erogenous zone, so that we can know exactly where the blade bites.
Why not? It’s not, really, that too much about Haneke encourages notions of tact or taste. I suspect it’s rather more that, having cast Isabelle Huppert — a kind of icon, after all — he flinched from asking that much of her. If you recall, on “Last Tango in Paris,” Bernardo Bertolucci admitted that he had taken a few shots in which Marlon Brando’s private parts were visible. But in the event, he had felt such awe of Marlon, such childlike respect, that he could not actually reveal the great Nebraskan penis of the Marlon (it is said to be uncircumcised). Not that he ever mustered the same reverence for Maria Schneider, who — you may recall — is stark naked for much of the film. But Maria Schneider was an unknown then. She didn’t have the status — just a great body.
David Thomson is the author of "A Biographical Dictionary of Film" (new edition just published), "Rosebud: The Story of Orson Welles" and "In Nevada." More David Thomson.






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