for the characters to discover what the audience already knows), whose necrosadistic proclivities receive little in the way of illumination or motivation. (Jltimately frustrating, the film does benefit from a brooding score by frequent Lars von Trier collaborator Joachim Holbek (at least, before he condescends to climactic Bernard Herrmann- isms), a muted color palette punctuated by sallow ambers and frosty blues, and the winning performances of its ensemble cast—particularly Rikke Louise Anderson as the doomed callgirl Joyce, whose last words (“Do you know where the Himalayas are?”) are as heartbreaking as they are unexpected. A sensation in Europe at the
time of its initial release, NIGHT- WATCH was picked up for distri­ bution by Miramax, who withheld the film from American audi­ ences so that Bomedal could remake it in English (additional dialogue provided by Steven Soderbergh) with a Hollywood cast that included Nick Nolte, Josh Brolin, Patricia Arquette and TRAINSPOTTING s Ewan McGregor (struggling with an American accent as the clueless night watchman). Its premiere delayed for more than a year and its gruesome imagery toned down prior to opening in the spring of 1998, Bornedal’s En­ glish language NIGHTWATCH was a boxoffice non-starter. An­ chor Bay Entertainment has re­ leased Bomedal’s original (on both VHS tape and DVD), so that Yanks can finally see what they missed. Retaining the Miramax logo, this letterboxed transfer is presented at the 1.85:1 aspect ratio and enhanced for playback on 16x9 television monitors, proving a quietly dazzling view­ ing experience. The Danish soundtrack is provided in both Dolby Digital 5.1 (preferred, for
Bornedal’s employment of jarring ambient sound) and Dolby Sur­ round 2.0. The yellow English subtitles are optional. The film has been given 26 chapters, and Anchor Bay has included a im 33s letterboxed Danish trailer. Ole Bomedal has provided an
audio commentary for the film that is amusing and informative, but the director is extremely soft spoken; because the commen­ tary track toggles back and forth between Bornedal’s sotto voce musings and the full audio, view­ ers may want to stand by with a finger on the volume control. Bomedal proves to be refresh­ ingly objective about the film’s shortcomings (“That’s really bad, that sucked”) and speaks with candor about the failure of his remake (“It hit all the mythologi­ cal problems of Hollywood” ). Bomedal also provides literal translations from the Danish that are Americanized, and in some cases dumbed-down, in the English subtitles—including additional Nietszchean quota­ tions, the substitution of “stu­ pid bastard” for “cocksucker,” and a reference to THE TEXAS CHAIN SAW MASSACRE. —Richard Harland Smith
THE NUN
La Religieuse 1966, Kino on Video, HF/LB/ST, $24.95, 139m 39s, VHS
THE NUN, directed by Jacques
Rivette and starring Anna Karina, is a memorable film version of the classic novel LA RELIGIEUSE by the 18th-century French mor­ alist, Denis Diderot. Opening titles of the film assert that Diderot’s novel was based on actual events and characters. Set in Paris in 1757, it is the
story of 16 year-old Suzanne Simonin (Karina), who is forced by her mother to remain in the convent in which she was raised.
Suzanne’s mother, Madame Simonin (Christine Lenier), re­ veals to Suzanne that she (Suzanne) is the product of an illicit affair, though her deceased husband never knew of this. Be­ cause the cost of marrying Suzanne would be prohibitive after providing dowries for two elder daughters, Suzanne is forced to take her final vows against her will. When the kind old Mother Superior (Micheline Presle) dies, after years of nur­ turing her, Suzanne finds herself at odds with her strict replace­ ment, suffering all the melo­ dramatic punishments and persecutions fit for a Gothic novel. Wishing to be released from the vows she has unwillingly assumed, Suzanne eventually seeks legal counsel from a sym­ pathetic lawyer. Her case is re­ ferred to the ecclesiastical court, and a sympathetic priest at last arranges for Suzanne’s transfer to a more liberal convent, one that—with its lavish clothing, fine food and china, music, and gai­ ety—more closely resembles a sorority than a cloister. More­ over, the Mother Superior at this convent, Madame de Chelles (Liselotte Pulver), is extremely lax, and dotes on Suzanne, who is, at first, quite grateful. Soon, however, it be­ comes clear that the comforts offered to Suzanne do not come without a price, and, in despera­ tion, she flees the convent by eloping with an equally unhappy priest, Dorn Morel (Francisco Rabal). The story then presents the tragic fate of Suzanne in a conclusion that is rife with irony. THE NUN was banned by the
French government upon its initial release, presumably be­ cause of its portrayal of the scandalous behavior Suzanne encounters in her convent life. (The disclaimer that opens the film, averring that this “is a work
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