Irreversible

Irreversible

Yet again, the BBFC contradict themselves horribly - this time in a manner even more blatant than we unfortunate Brits have become accustomed to.

On Monday 26th May, two controversial rape-revenge dramas were released onto UK DVD - this stunning French effort, and Wes Craven's hugely influential THE LAST HOUSE ON THE LEFT. Bearing in mind that Craven's film is 30 years old and - as crucial as it remains - is relatively tame in these more liberal times, it seems insane that it has suffered cuts while this far more challenging (and graphic) work has scraped past our censors unscathed.

Still, as annoying as it is that TLHOTL has been tampered with unnecessarily, it is credit to the BBFC that Gaspar Noe's IRREVERSIBLE has survived their watchdog eyes intact.

The story is a simple one.

A young couple - Marcus and Alex (Vincent Cassel and Monica Bellucci - married in real life) - are madly in love. Their lives are torn apart when Alex is raped, beaten and left for dead in a Parisian subway. Goaded by two local hoods, Marcus seeks bloody revenge with the help of his friend Pierre (Albert Dupontel). Echoing Craven's film, we see Marcus and Pierre post-retribution as broken men, apprehended by the police and feeling no more satisfied for the 'justice' they have served.

Far from the above being a major spoiler, the conclusion to Noe's film is presented at the beginning of the narrative. The remainder of the movie then unfolds backwards a'la SCHRAMM or MEMENTO, retracing the events that led to this hellish inferno of violence.

And just like SCHRAMM or MEMENTO, IRREVERSIBLE therefore makes much more sense (and is consequently more gratifying) upon a second viewing. And, believe me, after this 95 minute assault on the senses, you will be eager to watch this troublesome classic again!

It's unfair to give too much away, as this movie demands to be seen by anyone with an interest in brilliant yet challenging cinema, but the two scenes of most contention perhaps do warrant special mention …

The first is the early revenge scene. The build-up involves an unbearably tense search for the rapist (the "Tenia") in a gay S&M club - RECTUM(!). Expert use of hypnotic siren-esque sounds, nauseatingly erratic camera-work and random violent homosexual images combine to create a vision of Hell on Earth. Meanwhile, we follow the two protagonists through the club, Pierre begging a vengeful Marcus to give up his quest before going too far. No such luck.

This lengthy (though utterly compelling) sequence culminates in a crescendo of violence as unexpected as it is hard to stomach.

As proven in Noe's previous outing, I STAND ALONE (utterly essential viewing, a true masterpiece) the director has a knack for filming violence in a lingering, cold and candid manner. This approach succeeds in painting ugly pictures one cannot easily shake off afterwards. Never has this been exampled more explicitly than in the finale of this club scene - apart from the stellar acting on offer (which adds to the intensity, obviously) the FX on display here are amazing. Trust me, you'll be watching this scene with your jaw agape!

The second scene is, of course, the rape. Shot in a single take by a static camera, this ordeal lasts 11 minutes. Naturally, then, it is unpleasant and horrifying in the extreme. Bizarrely, the most jarring aspect of this particular scene was the sound effects - the 'slap-slap' sound of the rapist slamming himself into Alex's anus.

And if you stomach the prolonged rape, just wait till you see the beating the victim receives immediately afterwards … truly grotesque, but vitally important as perhaps the most honest and brutal depiction of an obscene and often taboo crime yet to hit the screen.

The BBFC must be congratulated on their decision to pass this tour-de-force uncut. When initially withheld from cinema distribution by the BBFC back in late 2001, Noe insisted that if a single second was cut from the film he would personally withdraw it from circulation. His argument was that rape is a despicably ugly, unforgivable crime and that if you cut such a realistic depiction of it, you are essentially sanitising a reprehensible subject matter to make it more palatable for the mainstream viewer - "selling" it to them, in fact.

A brilliant, unforgettable film - technically bold (the dizzying camera-work; the unflinching approach to violence) - it would be a shame if something this significant got given a lacklustre treatment on DVD.

Well …

Visually, the film looks great here (anamorhpic 2.35:1), very crisp and sharp. No concerns whatsoever. The audio is available in either Dolby 2.0 or 5.1 - I concentrated on the latter, and it's a satisfyingly loud, consistent mix (though perhaps a little bass-heavy).

Subtitles are clear and easily readable. Pleasingly, they're removable too.

As always with Metro Tartan though, it's the extras that let this disc down.

Two theatrical trailers are present - both virtually identical. We also get 6 'teaser' trailers that are so brief, there's no real reason for them to be here at all.

Hannah McGill's film notes are 6 pages strong and are quite interesting in a 'read-once-then-destroy' kind of way. There's filmographies for the three main actors and Noe, and finally the ever dependable (predictable?!) 'World Cinema Trailer Reel' - which on this occasion includes the likes of THE IDIOTS and TROUBLE EVERY DAY …

So, where's the 'Making Of' featurette that was previously mentioned …?!

Oh well, it's the film that counts at the end of the day. IRREVERSIBLE looks and sounds magnificent. It's fully uncut and is a thoroughly rewarding experience for anyone prepared to straddle the pole between well-made world cinema and exploitation shock-tactics.

Another superb film from the most vital name work in European cinema today. You need it!

Review by Stuart Willis


 
Released by Metro Tartan
Region - All (PAL)
Rated - 18 (uncut)
Extras :
Stills gallery, Bio/Reviews text sections, trailers selection
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