Venus In Fur

This witty, battle of the sexes two hander, directed by Roman Polanski and based on the Tony® award-winning play by David Ives, is a complex examination and dissection of male and female domination and submission.

It is late in the evening in a Parisian theatre, and ambitious writer-director Thomas (Mathieu Amalric) is ready to wrap up and go home to his wealthy fiancée. His day of auditioning young actresses for the lead role of Vanda, the heroine of Leopold von Sacher-Masoch’s infamous novel Venus In Furs, has gone disastrously. As he bemoans to his fiancée over the mobile phone: “No, she doesn’t exist. I mean a sexy young woman with a classical training and a scrap of brain in her skull. Who can say ‘inextricable’ without a coach.”
Enter an untrained and somewhat vulgar actress, ironically called Vanda (Emmanuelle Seigner), who waltzes in from the rain at the last moment and demands an audition. Not exactly impressed by her vulgar attitude and garish pushiness, he at first declines to audition her. It’s only when she dons vintage garb and transforms herself into the novel cum play, that his curiosity is aroused. This is a woman who knows exactly what she is doing, and knows how to play men in order to get what she wants!

The game has begun and the battle of wits ensues… The longer this tantalizing game goes on, the more we become aware that this is less about an audition and more about power play. Soon it becomes clear that all the major cards are stacked in Vanda’s deck. In one particular titillating scene (of which there are many), Vanda manages to persuade Thomas to call his fiancé (who is also the producer of the play, having the necessary funds) to inform her he won’t be coming home tonight. Meanwhile, in the background, an assured and amused Vanda shouts in the background something that cannot be repeated here. The wily and experienced Vanda soon succeeds in bringing Thomas’ masochistic tendencies further to the fore. It’s not before long and the submissive director, oh joy oh rapture, finds himself wearing lipstick, a pair of high heels, and a dog collar around his neck. Well, Mr. Polanksi…

By the end, the sexist and misogynistic Thomas is left tied up and unfulfilled on a phallic prop leftover from the previous production, ‘Stagecoach’. While Vanda is changing into her street clothes again and makes her exit, we and indeed he are left wondering whether she ever was an actual auditionee or an emissary sent by his fiancée to test his fidelity. As the lights go out, the stage is set for Thomas’ downfall…

Emmanuelle Seigner (the real-life Mrs. Polanski) handles her role with relish! Mathieu Amalric (who bears an uncanny resemblance to the young Polanski) was indeed the right choice for the role of Thomas. Within the context of this erotic cat- and mouse game, the viewer can sometimes get a little lost as to what is real and illusion. Then again, isn’t that what theatre is all about?

The DVD (in French with English subtitles) contains interviews with cast and director.