"La Bonne" represents a larger trend where filmmakers purportedly are treating the erotic fantasies of women in a serious way, when - let's face it - the only reason why we are watching these films is to wait for beautiful women to take off their clothes and have sex.
The set up for "La Bonne" is a neglected housewife Anna (Florence Guerin) whose erotic fantasies are apparently awakened by a maid Angela (Trine Michelsen). Anna undergoes all sorts of experiences, including a rather cruel one which culminates in the accidental death of her mother-in-law. But we soon realize watching this movie that the erotic experiences depicted in this movie do not really belong to Anna or even Angela. These women are just being used by Director Salvatore Samperi to work out his own sexual fantasies. How do we know this? There isn't any chemistry between Anna and Angela and there is certainly no chemistry between Anna and the man that she is having an extramarital affair with. Sure, Anna can moan during sex and her breasts shake seductively, but she does not seem even remotely turned on by her male lover. It's not too hard to see why: the male lover is not only past middle age and unattractive, but has a cocaine addition in the bargain. Even during one of the scenes where Angela is meant to be turned on by watching Anna engaging in extramarital sex, you get the distinct impression that Angela is taking direction from Samperi and the camera man. Her behavior is not her own and her lines are not her own.
What we are left with then is a movie that purports to be artistic erotica, but is really a softcore pornographic movie with surprisingly little sex in it. There are some beautiful female bodies on screen belonging to Florence Guerin and Trine Michelsen, but we do not really get any insight into the personalities and sexuality of either woman. Louis Malle's erotic film Damage does a much better job at covering these themes with a stellar performance from Juliette Binoche. However, one silver lining in this film is the highly original and occasionally quite entertaining score by Riziero Ortolani. Some of the violin music is so good that it would be right at home in a more serious and thoughtful film.
The set up for "La Bonne" is a neglected housewife Anna (Florence Guerin) whose erotic fantasies are apparently awakened by a maid Angela (Trine Michelsen). Anna undergoes all sorts of experiences, including a rather cruel one which culminates in the accidental death of her mother-in-law. But we soon realize watching this movie that the erotic experiences depicted in this movie do not really belong to Anna or even Angela. These women are just being used by Director Salvatore Samperi to work out his own sexual fantasies. How do we know this? There isn't any chemistry between Anna and Angela and there is certainly no chemistry between Anna and the man that she is having an extramarital affair with. Sure, Anna can moan during sex and her breasts shake seductively, but she does not seem even remotely turned on by her male lover. It's not too hard to see why: the male lover is not only past middle age and unattractive, but has a cocaine addition in the bargain. Even during one of the scenes where Angela is meant to be turned on by watching Anna engaging in extramarital sex, you get the distinct impression that Angela is taking direction from Samperi and the camera man. Her behavior is not her own and her lines are not her own.
What we are left with then is a movie that purports to be artistic erotica, but is really a softcore pornographic movie with surprisingly little sex in it. There are some beautiful female bodies on screen belonging to Florence Guerin and Trine Michelsen, but we do not really get any insight into the personalities and sexuality of either woman. Louis Malle's erotic film Damage does a much better job at covering these themes with a stellar performance from Juliette Binoche. However, one silver lining in this film is the highly original and occasionally quite entertaining score by Riziero Ortolani. Some of the violin music is so good that it would be right at home in a more serious and thoughtful film.