Repulsion
Repulsion, directed
by Roman Polanski in 1965, is a black and white horror film in which a young
woman loses her sanity whilst in deep loneliness in her own flat. The main
character resides in a Kensington flat with her sister and works in a beauty parlour,
the main character is already known for “spacing out” but despite her obvious
mental issues her sister decides to leave her alone in the flat for a few days
while she goes on a holiday with her boyfriend. Carole almost instantly seems
to further lose contact with reality and starts to hallucinate which inevitably
leads to the gruesome murders of her boyfriend and land lord at her hands.
The film relies very heavily on its soundscape, for example
the phone ringing when the landlord wants to speak to Carole seems to be louder
every single time which perhaps suggests that she gets closer and closer to
insanity and increases the overall intensity of the situation. The music is
either very prominent or it is deadly quiet which is when Carole seems to have
her most disturbing moments or when she is mentally lost. “A microscopic membrane between dreams and reality remains in play
throughout, with Polanski and Brach sticking hard and fast to cruel, apparently
subjective torture rather than offering pat explanations for Carol's swelling
mania. “ (Jenkins, 2012:2) During a scene of hallucinated sexual assault
the sound is used in another way, dead silence is all the audience can hear
having a piercing effect on the audience as the horrific nature of the scene is communicated soundlessly.
The main character
has deep seated problems with men which becomes more apparent when her
boyfriend kisses her and she flees and is clearly shaken by the event. “A Belgian beautician living in London,
Carol is undoubtedly repulsed by all the life collected around her.
Specifically, the men cause her trouble. As a model-perfect face with thick
blond hair, she turns men’s heads in spite of her obvious mental issues.” (Sorrento, 2009:2) She seems very
disturbed when she can hear her sister and her boyfriend having sexual
intercourse in the neighbouring room, which perhaps lead to the rape hallucinations
(or fantasies?) she has every night after her sister leaves. They seem to be slightly unreal because the
sound of her protesting and the act is cut off but a very fast clock is ticking
away and she gets woken up by a ringing phone.
The movie is rendered in a black and white monotone setting.
This is probably to help emphasise the depressed and gloom feeling of the main
character Carole as she slips deep into depression and insanity. The sets seem
almost uninteresting and lifeless when rendered in monotone which is perhaps
how the audience is supposed to relate to them and see them almost as through
Carole’s eyes. A symptom of depression is to see the world “Greyed out” and
perhaps the directors have used this to help push the feeling or depression and
helplessness to the audience.
Figure 1. Carole and her
boyfriend (1965)
The camera shots are
very long and enable the viewer to take in details about objects or the main
characters feelings and state of mind which often becomes apparent in her empty
looks while she walks through the city. The main character has a very ghost
like appearance as her eyes seem unable to focus which makes her seem distant
from the scene and what is happening around her. Whenever she feels threatened
she flees into a corner and gives the personalisation of a trapped defenseless animal
which turns to primal rage, which further suggests that her mental state is
revealing her primal instincts first before it lets her think.
One of the artistic
devices used to make the audience experience her insanity is the growing space
of the flat, the first time she walks back into the bathroom after she puts the
body in the bath it seems two or three times longer than all the other times
perhaps illustrating the feeling of losing touch with reality and the world
around her. The living room also seems to expand around the corner into where
the main characters sister’s room should be, which might illustrate how she retreats
into herself and detaches from her surroundings but maybe also how it takes
increasing effort to move forward, almost all action from this moment on takes
place in the rooms closest to the front door perhaps illustrating a growing
feeling of entrapment in her emotional state.
Overall the Repulsion makes great use of artistic devices of
colour and space as well as cleverly choreographed camera shots to also
emphasise the growing insanity in the main characters mind and her own twisted
interpretation of the world and events around her. The movie also makes amazing
use of sound to intensify key moments such as the imagine abuse scenes and
murders, perfectly going silent to push across the horrific nature of the abuse
scenes and using a ticking clock “the
"assault" scene played out to the amplified ticking clock”
(Bradshaw, 2013:2) to demonstrate increased intensity of the murder scenes.
Figure 2. Waking up
after hallucinated sex assault scene (1965)
Bibliography:
Bradshaw, Peter. (2013) Repulsion.
http://www.theguardian.com/film/2013/jan/03/repulsion-review (Accessed on 18/11/2014
Jenkins, David. (2012) Repulsion.
http://www.littlewhitelies.co.uk/theatrical-reviews/repulsion-22822
(Accessed on 18/11/2014)
Sorrento, Matthew. (2009) Repulsion. http://www.filmthreat.com/reviews/11829/ (Accessed on 18/11/2014)
Illustration
list:
Figure 1: Polanski,
N. (1965) Carole and her boyfriend
[Still of Carole and boyfriend] Available from: http://www.dvdbeaver.com/film/dvdcompare/repulsion-3.htm
(Accessed on 18/11/2014)
Figure 2: Polanski,
N. (1965) Waking up after hallucinated
sex assault scene [Still of Carole] Available from: http://www.dvdbeaver.com/film/dvdcompare/repulsion-3.htm
(Accessed on 18/11/2014)
bravo, Mailin!
ReplyDelete*the horrific nature of the scene is scent across soundless*
This doesn't quite make sense; a) you mean sent not *scent* (which means fragrance) and b) would this be better?: 'The horrific nature of the scene is communicated soundlessly...'
But anyway, well done for getting this up so swiftly - and yet, so insightfully. It's a good habit, Mailin - keep it up; it's buying you time elsewhere :)
Ah thanks ^^ I hit lots of extra letters accidentally so I'm actually surprised there aren't more! Will try and keep improving :)
ReplyDeleteWell thought through Mailin! Just make sure that your quotes are embedded in such a way that that they help your writing flow...so, try and introduce them, by using the author's name... for example,
ReplyDeleteAs David Jenkins states in his review, “A microscopic membrane between dreams and reality remains in play throughout, with Polanski and Brach sticking hard and fast to cruel, apparently subjective torture rather than offering pat explanations for Carol's swelling mania. “ (Jenkins, 2012:2)
Keep them coming! :)