Xmas is over and I'm now in the Blu-ray group. It's cool and all but, man! All that detail and clarity scares me motionless. Two minutes into it and I'm really missing the blur that used to cover all the tiny beads of sweat under actors' stage makeup. Luckily there's Criterion, who manage to make Blu-ray look just better enough to be worthwhile, but not so sharp as to cut the nose off a snoopy detective. Shall we all not be punished for seeing too much? Well, not all the time: REPULSION (1965) looks heavenlier than ever, not that I've seen it in any form before except on my auld streaky pan-and-scan VHS wherein it came on after UNDER THE VOLCANO but before CARNIVAL OF SOULS.
Hell was, ash yew know, Hugh, my natural habitat... 'til now.
REPULSION's eerie but glacial frisson makes it actually ideal for being the first film to watch on Blu-ray: we see just enough ugliness outside the flat to make us cling to Deneuve's soothingly blank visage all the more. The "too much detail" problem is sidestepped via her stunning countenance. The way Blu-ray sharpens her features into a realm of "too much sight" is usually reserved only for the insane -- the sight of particles and energy actually changing in the face second-by-second. Her face, hair, and expression oscillate into her sister Francois, Cybil Shepherd and/or Gwyneth Paltrow at times; other times it seems like she's trying not to laugh as she walks down the street, hiding how amused she is by Polanski's camera, and we realize that---for some of us--beautiful girls in particular-- the camera never shuts off. 24/7 they're watched by a million slavering, arrogant or competitive eyes, all longing to be toasted in her flaming wicker head... or singed on the edge of a straight razor. As Saul put it in THE OLD DARK HOUSE, "Flames... are really knives... and it's cold, flame is!"
|(the camera is a hallucination)|
Sometimes I wonder if all this clarity is revealing stuff even Polanski didn't see when picking out shots. He sure doesn't seem to miss much, though, and this is the kind of film that craftsmanship was made for since it's the accumulation of small details -- the gradual shading of light and darkness and the way the world keeps turning outside your door even as you are locked up in your house afraid to go out because of the weird breathing you hear several floors down, coming from your drain -- that make the film work. If it's too pronounced and over-produced you sense the trickery and think someone's working a gaslight. On the other hand, if it's totally unnoticeable you think maybe they really are out to get her. One tentacle of Polanski's genius is that even when the script decides which is which, he doesn't.
Take it from anyone whose ever been confined to their flat in the middle of a sprawling, car alarm and siren-ridden rush hour midtown work week while recovering from drug binges or emotional trauma for days on end without human contact, not even daring to move from a sitting or lying position, watching the sun come and go, the hustle and bustle of commuters like a syrup-paced Koyaanisqatsi, the slowly cohering spiderweb in the corner your only friend, every little shadow twisting into a million almost-things, REPULSION is 'true'. Now on Blu it makes sense that Deneuve's so hypnotized by wall cracks in the film; now we can see deep inside them ourselves... like the barrier between the viewer and the image has been damages, and any minute we might reach into one of the cracks and pull Deneuve's hair, or be pulled in ourselves... no wonder she's so crazy! Just be glad her razor's not in 3-D... not yet. And glad she's safely on the other side of the screen.