Film Sado Masochism
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Film Sado Masochism
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“It is always by way of pain one arrives at pleasure.” – Marquis de Sade
“The more you hurt me as you have just done, the more you fire my heart and inflame my senses.” – Leopold von Sacher-Masoch
In the 19th century, Richard von Krafft-Ebing and Sigmund Freud were pioneers in the field of psychology and helped in the categorization of terms that defined and expanded the way people thought about human behavior and sexuality.
Two terms that each helped popularize, sadism and masochism, have been subjects explored by artists, photographers, and filmmakers. Luis Buñuel said, “The cinema is an instrument of poetry, with all that word can imply of the sense of liberation, of subversion of reality, of the threshold of the marvelous world of the subconscious, of nonconformity with the limited society that surrounds us.” This quotation seems especially apropos for films that seek to examine and reveal emotions and desires that are deemed controversial, taboo, or exist at the fringes of social acceptability.
Buñuel’s statement can also be understood in the more progressive attitude in filmmaking toward the depiction of sex and desire in movies, with European filmmakers often being more daring in their exploration of sexual subject matter than their more reticent American counterparts.
Masochism, derived from the writer Leopold von Sacher-Masoch, refers to a sexual need to experience pain. Sadism, borrowed from the progenitor of modern pornographic writing and discourse, the Marquis de Sade, involves receiving pleasure from inflicting pain on others. The following films, many of which are now regarded as cinema classics, have all generated a fair amount of controversy and censorship upon their release.
Sadomasochistic narratives provide a vehicle for exposing unequal power dynamics between individuals as well as inequity on a much larger scale. Sadomasochism is not just about pushing the boundaries of acceptability;
it is also about confronting taboos and challenging norms that extend beyond the body and into the arena of the sexual and political, and thus its very representation in film can be a powerful tool for reimagining and challenging stereotypes about gender, power and relationships in real world settings.
1. Belle de Jour (Luis Buñuel, 1967)
From the film’s famous opening scene to its ambiguous ending, Luis Buñuel’s erotic masterpiece created a stir in the late sixties with Catherine Deneuve as the icy and naive, yet beautiful, domestic wife whose fantasies eventually lead her to work in a Parisian brothel.
Belle de Jour is the best, earliest and most influential of films on this list because it provides a blueprint for how to take taboo subjects such as prostitution, sexual abuse/trauma, and sadomasochism and turn it into a fascinating and occasionally humorous cerebral investigation into the power of fantasy and the imagination.
It can be viewed as a psychological study of how western bourgeois women are often taught to deny and repress their sexual urges rather than understand and explore them. Buñuel uses surrealism to show how dreams and fantasies are just as important as any form of reality we choose to embrace.
2. Secretary (Steven Shainberg, 2002)
After her release from a mental hospital, Lee Holloway finds herself at home once again in a volatile family atmosphere that includes an alcoholic, abusive father. In order to deal with the stress of family dysfunction and her own feelings of personal dissatisfaction,
Lee takes solace the way she has since the seventh grade—by cutting and inflicting other forms of self-induced pain on her body. This attempt to alleviate her psychic distress changes when she is offered a position as secretary to the lawyer Mr. Grey. Known for playing unusual and offbeat characters,
Maggie Gyllenhaal and James Spader are secretary and boss who gradually become involved in a sadomasochistic relationship that originates in a professional capacity and gradually becomes more intimate and personal.
Secretary takes the relationship between employee and boss, which by definition is based on an inequity of power, and examines it in terms of sexual boundaries and social taboos. Gyllenhaal exudes a quirkiness, vulnerability, and warmth that make her easy to identify and sympathize with. While on the surface the story might appear to be another misogynistic example whereby the woman is cast as powerless and merely passive or submissive to a man, it challenges any such simplistic view.
3. Last Tango in Paris (Bernardo Bertolucci, 1973)
“You and I are gonna meet here without knowing anything that goes on outside here,” says widower Paul to Jeanne, a woman he meets by chance in an apartment both are viewing to rent. The two end up agreeing to meet for regular sexual liaisons. They agree not to reveal their names to each other in an attempt to keep the outside world separate from their daily trysts.
Risqué at the time, the film is really about the ways in which sex can provide temporary respite from grief and ennui; it is an attempt to forget that human beings are ultimately alone. Paul’s grief over the death of his wife fuels his anger and sadness that manifests itself in the form of violent outbursts and aggressive sex between him and Jeanne.
At the time of its release, Pauline Kael in her movie review of the film proclaimed, “this must be the most powerfully erotic movie ever made,” going on to say that “Bertolucci and Brando have altered the face of an art form.”
Jean-Louis Trintignant was first offered the part of Paul, eventually played by Marlon Brando, but declined it because he wasn’t comfortable with the nudity and sex scenes. The film, however, is not simply powerful because of the sex but also the heightened emotions displayed by the two protagonists. Gato Barbieri’s seductive and melancholy score imbues the film with a sensual and inauspicious undercurrent.
4. Sick: The Life and Death of Bob Flanagan (Kirby Dick, 1997)
Filmmaker Kirby Dick creates a remarkably intimate portrait of the late masochistic enthusiast and performance artist Bob Flanagan. When Flanagan died in 1996 at the age of 43, he was the oldest living person with cystic fibrosis. This documentary explores the connection between his physical disease and the way in which those who practice s/m are often regarded as “sick” and “perverse.”
According to Flanagan, he began practicing self-mutilation and body modification at a young age in his parents’ basement and found that it helped alleviate some of the pain and discomfort associated with CF. Later on, he incorporated his personal fantasies into performance art exhibitions where he shocked, entertained, and educated people about his disease and the community of s/m practitioners.
He became so well known that he was featured in the Nine Inch Nails video “Happiness in Slavery.” The film does a great job showing actual footage from some of his exhibitions, providing viewers with recurring themes in his art, life, and poetry. Importantly, it also resonates emotionally with the audience by showing the day-to-day struggles of someone with CF and the intimate details of his relationship with longtime partner, Sheree Rose, who played a crucial role in his life and work.
5. In the Realm of the Senses (Nagisa Oshima, 1976)
Because of the strict production code laws in Japan regarding pornographic images, director Nagisa Oshima had to send the reels to France to be developed and edited. Oshima’s film is based on the real life account of Sada Abe, a prostitute whose scandalous relationship with Kichi Ishida leads to tragedy. What makes this film notable, and at the time widely censored, are the scenes of unsimulated sex: one of the first movies to attempt to break down the distinction between pornography and feature films.
In spite of the pornographic aspects of the film, it is really about the unusual and intense love the two shared that makes this film poignant and memorable. As the two grow closer and more passionate, they begin to experiment with rougher, more violent forms of erotic expression. One of the things this film attempts to do is revive the erotic art tradition that was so popular in Japanese culture in previous centuries, showing how drawings and paintings of the time were a celebration of sex.
6. The Piano Teacher (Michael Haneke, 2001)
Based on Elfriede Jelinek’s bestselling novel, the eponymous piano teacher is played by Isabelle Huppert, known for her affinity for unconventional and emotionally complex characters.
Michael Haneke, whose films always focus on the mechanisms of violence in society, trains his gaze on the impulses of Erika, who exhibits both masochistic and sadistic urges. Erika finds it difficult to connect and empathize with others in any meaningful way, so her emotions and passion are sublimated into her music, and her violent tendencies directed at herself, her mother, and her students.
At first the appearance of the Walter Klemmer, an engineer student who plays the piano and shares her love of classical music, unsettles her. Nevertheless, the two embark on an ill-fated course that involves physical and psychological control, violence and obsession.
7. The Bitter Tears of Petra von Kant (Rainer Werner Fassbinder, 1972)
Some of the persistent themes in the films of Fassbinder are the ways in which love and relationships ultimately boil down to a power struggle: how the one who loves more is always the one who gets hurt.
In Petra von Kant, the sadomasochistic elements are not physical but rather psychological. Petra’s love for Karin is mirrored by her assistant Marlene’s desire for Petra. The entire film is set in Petra’s apartment, mostly in the bedroom. Fassbinder’s deft use of camera movement and close-ups prevent it from feeling claustrophobic and static, offering an intense viewing experience regarding the pleasure and pain produced by desire for another.
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Newsletter
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NoiseTrade
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Netflix
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By Justine Smith | February 15, 2015 | 8:44pm
While little more than glorified, de-fanged piece of Twilight fan-fiction, 50 Shades of Grey has initiated a very public discussion on sadomasochism that has arguably never been so loud, so divisive and so mainstream. Whereas teenage girls from the past relied on the likes of D.H. Lawrence for kicks, and suburban moms leaned on Fabio-tastic romance novels for titillation, a new generation of (mostly) women are getting riled up by the handsome, domineering Christian Grey and his bag of sadomasochistic tricks. With 50 Shades of Grey finally in theaters, here’s a look at a rich history of films that similarly dealt with the ideas, pleasures and pitfalls of sadomasochism.
Mario Bava is no stranger to fetishistic imagery, a large bulk of his filmography rich with textures, gyrating bodies and mysterious velvety passageways. Sex and horror are deeply intertwined, and beautiful heroines often found themselves the object of sexual and violent lusts. Though The Whip and the Body is not Bava’s greatest work, it is his most sexually charged. The sadistic son of a nobleman (Christopher Lee) is exiled from his home after his former lover, a servant girl, commits suicide. He makes a return at the bequest of his brother and immediately transfers his mad sadistic lust to his brother’s wife. Even after Kurt is found murdered shortly thereafter, the strange erotically charged visits to the wife don’t stop… The titular whip becomes the central image of the film, and rather than just being a symbol of fear, it becomes an organ of violent lust. The apparent victim is also not so unwilling—in the role of Nevenka, Daliah Lavi reacts with orgasmic fury to her lashings. Causing quite a stir at the time of its release, the co-dependent nature of this violent relationships was not lost on audiences or critics.
With a Sundance release in 2002, Secretary quickly became notable for its somewhat unconventional take on the romantic comedy. With a wispy Maggie Gyllenhaal in the lead role, her transformation from self-abusing masochist to active participant in a sadomasochistic love affair is entrancing. Enough fantasy to dispel any criticism of the apparent lack of safe words, the film does appropriately transition from having Mr. Grey (a role tailor made for James Spader, that similarly makes you wonder if the only two works of fiction the author of 50 Shades of Grey had been exposed to was this and Twilight ) hold the power in the relationship to having Lee take control later in the film. This point hits the nail on the head in understanding that it is the submissive that ultimately holds the most power in sadomasochistic relations. While suffering from some vagueness and perhaps naivety in terms of what a healthy sadomasochistic relationship really looks like, Secretary nonetheless is perhaps the most important mainstream informer into sadomaso relations before 50 Shades of Grey entered the popular consciousness.
Pasolini removes the concept of pleasure from sadomasochism in Salò: 120 Days of Sodom , instead utilizing the Marquis de Sade’s text of the same name to explore the nature of sadism as it connects to abuses in power. It seems almost necessary to include it, as it is perhaps the most infamous adaptation of De Sade’s work every committed to screen. Pasolini’s vision of sadism utilizes the imbalance of power to create a film that is the antithesis of pleasurable. Perhaps the most damning film against unyielding political power ever made, Salò portrays a fascist elite who find gratification in the humiliation, objectification and abuse of their young and poor captives. Using fetishism and sadism as a metaphor for greater and escalating abuses of power, the film remains one of the most difficult explorations of hatred, greed and privilege to be put to screen. Forty years after its initial release, the film’s parade of humiliations, including force-feeding shit, remain barely watchable—it is a confrontational work that asks the audience to be challenged with the uncomfortable truths of the horrors that humanity is capable of.
A bizarre and entrancing experiment in sadomasochistic desire, The Duke of Burgundy is a dark comedy about a pair of lepidopterists who spend their days engaged in sadomasochistic games. At first glance, we are witness to a one-sided situation of sadistic abuse. Evoking the style of Italian genre films of the 1960s and 1970s, the environment is rich with textures, sounds and sensations—the women are perfectly coiffed and dressed. From the beginning, we are presented with a situation of high fantasy, a realm of the imagined and decorative female. The idea, though, of passive and decorative femininity is continually subverted and stripped away. While many scenes push the boundaries of so-called good taste, the film is centrally about a romantic relationship and the trials and tribulations of how sex fits into that equation. Strangely heartfelt and consistently funny, the film has already received numerous accolades since it premiered at TIFF in 2014 and has only further raised Peter Strickland’s stock as one of the most exciting working filmmakers today.
The father of 20th century sadomasochism, Alain-Robbe Grillet made a career on screen and in literature devoted to exploring the many facets of sadomasochistic philosophy. While not his first film, Trans-Europ Express is perhaps his most acclaimed work. An avant-garde—almost surrealist—portrayal of a relationship in flux, Trans-Europ Express beautifully examines the fantasy landscape in which sadomasochism thrives. Images the chained actress, Marie-France Pisier , have become the iconic marker of the film and an exciting evocation of the fantastic imagined possibilities for sexual desire. A dark comedy about the nature of creativity, the film is a meta textual narrative about a filmmaker inventing a narrative about fellow occupants of the Trans-Europ Express; part sex romp, part thriller-intrigue, the film is constantly shifting tone and perspective. At the heart of this is the sadomasochistic relationship between the two leads. With the ever-shifting balance of power between woman and man, the film portrays sex as a game: sadomasochism allows for an exploration of gender-based power while also subverting it. Alain Robbe Grillet’s wife, Catherine Robbe-Grillet also appears in the film—now in her 80s she is also an author of erotic philosophy/fiction and the most famous dominatrix in France .
Much as Pasolini attempted to deconstruct the evils of fascism through sadomasochism, Liliana Cavani with The Night Porter attempted a similar feat. Fifteen years after the end of World War Two, a former Concentration Camp SS officer (Dirk Bogarde) runs into a former victim, a child-prisoner in his concentration camp while he is now working as a meek night porter at a Vienna hotel. Utilizing flashbacks which reveal the violent and sexual nature of their previous meeting, they resume a charged affair that revisits the trauma and painful power imbalance of many years earlier. Controversial since it was first screened—Ebert awarded it just one star, The New York Times referred to it as a “piece of junk”—the film has nonetheless found staying power for better or for worse among critical circles. As if caught in that initial time period of trauma, the pair continue their sadomasochistic relationship, the violent nature of their pairing escalates while the pair slowly starve. Though through a very unconventional lens, The Night Porter tackles the convoluted co-dependency of hu
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