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8 ½ Women
After the death of his wife, wealthy businessman Philip Emmenthal and his son Storey open their own private harem in their family residence in Geneva (they get the idea while watching Federico Fellini's 8½ and after Storey is "given" a woman, Simato (Inoh), to waive her pachinko debts). They sign one-year contracts with eight (and a half) women to this effect. The women each have a gimmick (one is a nun, another a kabuki performer, etc.). Philip soon becomes dominated by his favourite of the concubines, Palmira, who has no interest in Storey as a lover, despite what their contract might stipulate. Philip dies, the concubines' contracts expire, and Storey is left alone with Giulietta (the titular "½", played by Fujiwara) and of course the money and the houses.
| Release : | 1999 |
| Rating : | 5.6 |
| Studio : | Delux Productions, Kasander & Wigman Productions, Woodline Productions, |
| Crew : | Art Department Coordinator, Production Design, |
| Cast : | John Standing Matthew Delamere Vivian Wu Annie Shizuka Inoh Toni Collette |
| Genre : | Drama Comedy |
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Reviews
Just perfect...
Absolutely Fantastic
Good films always raise compelling questions, whether the format is fiction or documentary fact.
Story: It's very simple but honestly that is fine.
(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon.)There's a kind of French farce/Marquis de Sade/Japanese porn feel to this self-indulgent romp from Brit auteur Peter Greenaway. It's kind of a "God, I'm bored and I've got so much money and what the heck let's turn the Geneva mansion into a bordello, a different woman in every room and Dad and I will have lots of fun and bond" thing. "I mean mom's gone now, Dad, and you never really got out and now it's time to live." So father and son go naked a lot with lots of babes who are also naked a lot.Matthew Delamere (Storey) is the son and John Standing (Philip) is the father. It's a bit creepy seeing them sharing the same bed naked. In fact it's a bit creepy seeing John Standing naked, period. But that's part of the Greenaway intent. Let's shock the bourgeoisie. It's such fun to do stuff that will make them squirm.They hissed at Cannes when this was shown (I understand; I wasn't there). It was first released in the Czech Republic, which says something, but I'm not sure what. It was banned in Malaysia--but that's pretty standard. The women are bizarre but, to be honest, intriguing. The story isn't much of a story. The rationale for suddenly taking on the life of the libertine is slight (Philip's wife dies) and a bit late in the coming. (And no pun intended.)The story starts in Tokyo with Storey helping Simato, a pachinko addict played by Annie Shizuka Inoh, avoid financial trouble in exchange for sexual favors. But never mind. As I said, the story doesn't matter. What matters is the outrageousness of the events (mostly sexual) and the beautiful sets. That's it. Most interesting thing in the film is Polly Walker who has both sex appeal and charisma. Most grotesque is that pig with its pinkish white skin so very human looking--and of course that was a sight joke and a comment upon humanity. But again, never mind.By the way, the 8 1/2 in the title is because Fellini's famous film somehow inspired Storey and Philip toward their debauchery.
Greenaway's films pose as clever, erudite and innovative. Yet his style and grammar originate and remind viewers of films made in the World War 1 era of film-making: the frame composition, use of mid-shot, the static camera. It may be well to rub against mainstream movies with this style but it is not new. Perhaps like that other "innovator", TS Eliot, he draws more from the past than in looking forward as an authentic innovator would or could.Yet Greenaway's biggest failing is that he cannot write. His dialog and even plot structure is mechanical and logical but without the vitality of another dramatic logician, Brecht. Where this weakness is most apparent is in his humor, which is poised and logical, so the joke is dead before it's delivered. The result is tedium: if it's not funny, it has failed: ask a stand-up comedian to justify their act if the audience doesn't respond. Perhaps the well-read director could learn something from Freud on humor.Finally, like Woody Allen, Greenaway has manipulated his actors over the years to work like clones. They speak the lines with a bored, smug air like narcissistic adolescents.This film, despite its design and lighting, is meretricious.
I'm a big Greenaway fan, his movies always inspired me visually. Sometimes his stories doesn't work, but always his visual sense is astonishingly beautiful.Except with this film. It feels like Greenaway lost his touch. Many "lame" visuals and corny shots, reminding more of leaflet photography rather than something visually interesting.There were a lot of interesting thoughts expressed through the father, but that was pretty much it. If you're a Greenaway fan you'll be disappointed, but you have to see it anyway... If you haven't seen any of his movies I recommend his older movies.
First of all, the camera set ups included only - wide, extremely wide and extreme close ups. Secondly, the old man walking around naked with blood running down his penis and leg while calmly stating, "That woman must have her insides ripped to shreds." was completely over the top. And last of all, we did not get a chance to get attached to any of the characters, so, why should we care if they leave?
