Irreversible (DVD)

Disgust, despair, anger, joy, disturbed, enthralled, amused, amazed, informed, indulged, insulted, intoxicated, nauseated: how many films can you say have made you feel all of these human infatuations (and more) at the same time? The bizarre/bewilderment that that feeling must depict is reflected in that of controversial French film: “Irreversible”. While the term ‘controversial’ is tossed around all too often in films, “Irreversible” can safely ...
...controversial films ever made’. The BBFC (British Board Of Film Classification) were very brave to let the film in our cinemas and our DVD collections uncut as it depicts (in reverse chronology) a savage and unflinching rape and the subsequent act of vengeance that makes the violence in “The Passion Of The Christ” look like a playground scrap… at a primary school… for girls… I don’t remember “Passion” prompting record mass multiplex walkouts by cinemagoers ... more

Disgust, despair, anger, joy, disturbed, enthralled, amused, amazed, informed, indulged, insulted, intoxicated, nauseated: how many films can you say have made you feel all of these human infatuations (and more) at the same time? The bizarre/bewilderment that that feeling must depict is reflected in that of controversial French film: “Irreversible”. While the term ‘controversial’ is tossed around all too often in films, “Irreversible” can safely say that it is in that elite circle of ‘most controversial films ever made’. The BBFC (British Board Of Film Classification) were very brave to let the film in our cinemas and our DVD collections uncut as it depicts (in reverse chronology) a savage and unflinching rape and the subsequent act of vengeance that makes the violence in “The Passion Of The Christ” look like a playground scrap… at a primary school… for girls… I don’t remember “Passion” prompting record mass multiplex walkouts by cinemagoers because of its unflinching and very reality driven scenes of violence and sexual violation. Welcome to the big boys table…

“Irreversible” like previous thriller “Memento” plays its scenes in reverse, showing the brutal aftermath of an alleged incident and then backtracking scene by scene to justify such a vengeful act. The story revolves around lovers Alex and Marcus (Monica Bellucci – “The Matrix Reloaded” and “Revolutions” and Vincent Cassel – “Shrek”, “Guest House Paradiso”, “Joan Of Ark”) who of course are madly in love. Old school friend and Alex’s old flame, Pierre (Albert Dupontel – “Les Acteurs”, “Le Correcteur”) is in town (Paris by the way) and the trio go to a party together. When Marcus gets extremely drunk and high on narcotic substances and acts like… well, a jerk, Pierre decides to stay at the party to look after his friend, whilst Alex decides to go home to escape embarrassment. On the way to the taxi rank, Alex walks down an underpass where she is witness to a woman being abused by her male partner. The woman manages to escape, but while Alex is paralysed with fright, the man (known as The Tenia; played by Jo Prestia) decides to exert his sexual frustration on her instead, forcing her to the ground, raping her and beating her face to a pulp afterward, for good measure.

When a somewhat more sober Marcus and celibate Pierre leave the party they see a woman being loaded into the back of an open ambulance, it is of course Alex. After hooking up with two very seedy gentlemen who wish to help Marcus and Pierre exact their revenge, for a price of course… The men trawl around the seedy underbelly of Paris’s red light district in search for ‘The Tenia’. Their trail takes them to the dodgy nightclub known as ‘The Rectum’. As you may have guessed, it is a nightspot for the local gay community, not an ordinary one however. It is in fact a seedy S&M hardcore sex basement, for men. It is here where Marcus and Pierre find The Tenia and exact their vowed revenge…

Despite, telling you, more of less the entire story, it won’t deter you from viewing, because the way the film is made is so thought provoking and immersing, it won’t matter, even if I revealed every little twist (which I won’t, as I am proud of producing reviews that are indeed, ‘spoiler free’) it wouldn’t matter, as it is the film in its entirety that carries the emotion to you rather than individual, iconic scenes. Mel Gibson’s film “The Passion Of The Christ” has a handful of scenes that actually makes the film a powerful experience to watch. The crucifixion scene of course, the infamous and very bloody whipping scene and the whole parade through the city to reach the mountain where said crucifixions took place. It is these scenes that make you feel despair and sympathy for Jesus Christ (arguably in a forced manner). In “Irreversible” however, each scene works together to reach the same objective that all work on multiple levels. The scenes after the conflict (the rape) therefore at the beginning of the film (reverse chronological order, don’t forget) are hyperactive, brooding, dark, brutal and unflinching, the scenes prior to the conflict and therefore toward the end of the film, provide more lighter, erotic viewing with a building anger because we know what will happen to Alex and there’s nothing we can do about it. There is also a subtle but very omnipresent irony in the final scenes. For example in the penultimate scene of the film and therefore the beginning of the story where we see the love between that of Alex and Marcus. After some pillow talk in bed and the turning on of music, Marcus cracks a seemingly innocent and meaningless joke to Alex:

“You know what?”
“What?”
“I want to f**k you in the ass”

At the time Alex laughs it off as, like I said, a joke between lovers, but we the audience can’t explain the amount of unintended irony behind that statement as we have seen what is about to happen to her in a seedy underpass at 3 in the morning.

The reverse style as used in the superb “Memento” really works for this film, and that feeling of helplessness would not be achieved in the same way if done in simple linear story telling. Some directors/screenwriters think that it would be ‘cool’ to have a story played in reverse for no real gain other than the fact that it’s ‘cool’. Writer/director Gaspar Noe uses the style to inflict maximum power among the drama, unfolding and developing in a different way to again, create that sense of helpless irony: We’ve seen what’s happened and there is nothing we can do about it.

“Le temps détruit tout - Time destroys everything”

Performances from the main three leads are outstanding. Bellucci, although only in the distinctly different second half of the film really shines as sassy and madly in love Alex, not only is she a siren for male audiences but provides a performance that supercedes that of any recent Oscar winner. As Hollywood doesn’t have a grasp on such non-mainstream affairs, an award was never in question. While on the subject on Oscars, they never gave/given an award to Stanley Kubrick, Alfred Hitchcock or Martin Scorsese but gave two to Sally Field! It makes my blood boil…

Vincent Cassel’s turn as Marcus is also exceptional displaying both the love and war side of human nature. He can be arrogant or tender, he can be passive or ultra violent. Such a flexible actor as this is perfectly cast for the role and full credit is given. The same goes for Albert Dupontel as silent yet strong Pierre, his character development is the most radical of the three and it is handled superbly whilst Jo Prestia’s job of playing The Tenia is also handled well. His character not given the chance to be fully explored is a wise move as he is the brutal, unflinching villain at the center of the drama.

By all means, writer/director Gasper Noe has not made a family mainstream, multiplex friendly film, he has created a story and a style of story telling that is flowing, unflinching and at times very disturbing. There are no cutting camera angles like most modern films. Each scene is one long tracking shot, as if there is an inconspicuous third party following the characters around. There is also a notable difference in camera style in the two distinct halves of the film. The first half consisting of Marcus and Pierre tracking down The Tenia through the seedy underbelly of Paris is dimly lit and nauseating. The camera doesn’t slow down or stop for a second. It is this hyperactivity that can easily be connected with the urgency that Marcus and Pierre feel. Camerawork for these scenes are in general, spectacular, never before has someone been bold enough to use a camera in such a dynamic and breathtaking way. To link scenes, the camera ducks and dives through uncertain blurs, it barrel rolls and loops, like an emotional rollercoaster that can make a man with the most hardened stomach feel a little queasy. Even during scenes of dialogue, the camera decides to keep moving, sometimes remaining static but tilting to the side instead, the very first scene of the film in particular displays some very flexible movement cinematography wise. A strange experience indeed.

The second after of the film: chronologically before the films central conflict but towards the end of the film, tones are bright, scenes are better lit, the film feels totally different compared to the previous, cringing first act. The scenes exchange unflinching brutality for bitter irony as demonstrated earlier. Although the camera still tracks instead of cutting from one angle to another, it is more flowing and steady and far less nauseating. The film all together, despite its unusual use of camera has a disturbing sense of realism. The only time the camera remains still for a long amount of time is the infamous and ultimately gut wrenching rape sequence in the iconically red painted underpass. The camera is still and low to the ground and doesn’t move for the duration of the five-minute sequence that is pivotal to the story. Some may argue that this is too extreme and impossible to muster any enjoyment… that’s the point, it’s a rape scene. We are meant to feel powerless to help and feel disgusted and enraged. It’s not like a soap opera where the storylines tend to involve horrible things and hence create the best drama but somehow make it light hearted and entertaining. Blahh???? For those expecting the same lighthearted interpretation in this film, you’re proverbial socks are going to be rocked. Never have I seen a film that delivers such bold power to the degree where I’m trying to find a way inside the television to stop such an inhuman act. Never have I seen a film where I cringe at my own inadequacy at the fact that I am powerless to do anything. If Coronation Street could do that, I would watch it constantly, I do not partake in fictional peoples’ misfortunes because I refuse to believe that so much crap can happen to a select group of people who all happen to be next door neighbours.

If you are looking for entertainment of popcorn proportions, then this isn’t the film for you. This film, along with “Passion Of The Christ” are films that are watched for the experience of it. If you want to watch a film where the terms ‘crucifixion’ and ‘fun’ collide, I suggest you watch “The Life Of Brian”. Anyway, “Irreversible” again falls into the category of a film that you watch for the experience of seeing it not to have a great night out or in with the wife and kids. What’s the point? A question you may be thinking right now. Not only can you watch it for the sake of watching it, but it can also mature you, as a film watcher. This is the kind of film that raises your experience past those who are adamant on solely watching manufactured Hollywood box office cash cows that lack in any passion and artistic creativity. There are some films that are made to make money, and there are some that make you feel.

The film isn’t all bad, as towards the end of the film (the beginning of the story) we are entitled to more of a touching love affair instead of a brutal revenge conquest. The first half hour is the worst to watch, at this point I hated the film. A seemingly endless search through the red lighted “Rectum” gay sex basement brings a stale taste as is the following act of revenge, that again doesn’t cut away and appears so real and therefore makes it seem subconsciously more violent than it actually is. It is this and the rape scene that provide the more memorable and disturbing scenes. Then there is the penultimate scene, the scene with Alex and Marcus in bed together, like real lovers with the world at their feet. Such a scene is more uplifting then could ever be precedented. The story (which only consisted of a three page draft with the majority of the script being improvised) does have something in the form of a twist in the end, but not one to radically change the outcome of the characters/story, but instead makes previous scenes (i.e. the rape) seem far more awful now that this new information has come to your attention. A nasty trick by Noe indeed.

Being filmed the way it was filmed, effects like blood were digitally added as there was no cutting to different camera angles. This is what makes the violence seem so barbaric and real, my hat goes off to them. But that’s what violence is, unpleasant. We don’t seem to mind it so much when you get the likes of Schwarzenegger throwing a knife into the torso of a drug dealer then saying “Stick around” (“Predator” by the way), or Neo fighting hundreds of Agent Smiths in “The Matrix Reloaded”. But because Gasper Noe had the courage to show violence in its true form, people complain about it. Look, violence is violent, it is not pleasant or cool or anything else that you’d use to describe it. Violence is everywhere but people don’t seem too bothered about it, until of course they see it on TV because some brave director wants realism instead of some charming, plastic existence. I know I’m rambling and I apologise but I’m trying to make the point that violence is unpleasant and real, not entertaining and it’s about time that filmmakers are starting to show it. So yes, when the film is violent, it is very violent and its digital effects superbly add to this. The most rewarding thing about “Irreversible” however is its realisation at the end that forever lingers in your mind. After all the misery and disturbing goings on, you seem strangely uplifted and forget that any of the evil business took place. Truly remarkable.

Soundtrack also has a distinct purpose and is vital in the first half-hour of the film. In the first half-hour has an industrial sounding pulse that is layered with another sound that is of 28Hz (almost inaudible to humans). This sound is the sound that is similar to that of you experiencing an earthquake, the sound can cause sickness, nausea and vertigo. This promoted mass walkouts at the Cannes Premiere. Apparently the intended effect as the beginning of the film is the more hyperactive violent part. Although it is arguably pointless to do such a devious and ultimately clever thing, it does pay off, as the film makes it’s ironic journey from darkness to light.

BOTTOM LINE
Without a doubt one of the greatest pieces of ‘experimental’ film I have ever seen, “Irreversible” is a must watch for the experience of it. However it is for select tastes, as it is one of the most ultra violent and ultra graphic films I’ve ever seen. Recommended, but with strict caution. Accessible to select people, not only is it, like I said, graphic, but there is also the fact that as the film is French, the reading of subtitles is required. Love it or loathe it, it is indisputable that it is the boldest piece of cinema that you’ll ever see. A superb achievement, but it's not going to be the most loved film ever made.

“One of the most important films in the last 20 years of movie history” – Dazed & Confused

“A masterpiece” – The Guardian

“Exceptional… should not be missed” – Jonathan Ross

CERTIFICATE : 18
TIME APPROX : 95 Minutes

CAUTION:
Some strong language
Strong, sexual violence
Strobe lighting
Drug usage
Occasional nudity and sex acts

IF YOU LIKE THIS, TRY:-
Memento – Chris Nolan’s reverse chronology revenge story may not be as brutally graphic, but serves to be equally rewarding.

DID YOU KNOW?
Of the 2,400 viewers of the “Irreversible” premiere at Cannes, 200 walked out due to the nauseating opening experience. This is proudly stated on the blurb of the French “Irreversible” DVD case. Also, ‘Newsweek’ stated that “Irreversible” was the most walked out movie of the year.

Time destroys everything…

<DarkMark
 

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