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Femme Fatale 2002 |
Review by Jonathan Cornwell |
Directed by Brian De Palma
R, 110 min. (strong sexuality, violence, language) |
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Starring: Rebecca Romjin-Stamos, Antonio Banderas, Peter Coyote, Eriq Ebouaney, Edourad Montoute, Rie, Thierry Fremont
Producers: Tarak Ben Ammar, Marina Gefter
Screenplay: Brian De Palma
Cinematography: Thierry Arbogast
Distributor: Warner Brothers
Released: 11.06.02 (Wide) |
Rating:
 (out of ) |
One thing is for certain when viewing a Brian De Palma film - here's a filmmaker that is bold and inventive, and uses narrative
as only a canvas to paint a sly, seductive picture that takes more risks than, dare I say, Alfred Hitchcock. His use of
Hitchcockian characters and complex storylines force the viewer to delve much deeper into the film than is obvious, and,
if you're not careful, you'll be completely lost before ten minutes have passed. Yes, this strategy is hit-or-miss at best,
but for those who get it, what a moment of clarity it becomes. The secret behind the facade that is Femme Fatale, an exotic
thriller starring the georgeous Rebecca Romjin-Stamos, is in the fine details that escape the average moviegoer. For most,
Femme Fatale will be a confusing mess of a picture, not worth understanding or contemplating. But consider, for instance,
a scene in which an aquarium is overflowing for no apparent reason in the context of a tense moment. It's here that De Palma
gives clues to his hidden agenda.
For De Palma, who has also helmed monumental disappointments such as Snake Eyes or the egregious Mission to Mars, the
knack for crafting complex pictures such as Scarface or Casualties of War is a gift. He likes to play with
images, locations, and characters to leave a hidden puzzle to those who are willing to piece it together. Even with average
storylines, his work is one of intense passion for creating doubt and probing questions of existence and meaning. His results
are not always effective, but they are sincere. And with Femme Fatale, De Palma has pushed his skills to the limit, provoking
reactions that range from outrage to intrigue to enlightenment.
Romjin-Stamos plays Laure Ash, a bad girl by admission, who is part of a heist to steal a diamond-laced body necklace from
a French model (Rie) while at the Cannes Film Festival. During a makeout session in the bathroom, the theft is accomplished
with an exchange of the diamonds with fake ones. Laure is one the run after betraying her partners and finds refuge in the
house of two grieving grandparents whose daughter looks identical Laure (they found her unconscious after a fall). There,
Laure uses an airline ticket to America, and, while en route, meets Bruce Watts (Peter Coyote), the American ambassador
to France. Seven years later, Laure returns with Bruce as his wife and realizes her danger when one of her former partners
is released from prison. The plot thickens when Nicolas Bardo (Antonio Banderas), a former papa-razzo, takes her photograph for money,
but then regrets his actions and confronts Laure. Now, Nicolas finds himself in a web of deceit and lust that will threaten
his life, while Laure attempts to reconcile her past.
De Palma's creative style clearly wins out over substance, as evidenced by his use of the split screen, superimposed character
arcs, and confusing out-of-place moments (the aquarium). This is a film that needs subsequent viewings to decipher its
mixed messages. It's only at the "surprise twist" that one can begin to piece together what De Palma is up to. Indeed,
the pivotal moment in the film sheds light on many of the strange situations and surreal nature of the characters beforehand.
If the viewer looks closely, they will begin to understand what De Palma is saying. His attention to detail is impressive,
especially when you consider he must build a linear story while providing the framework for another interpretation just beneath
the surface. This is where filmmakers emerge.
As for Romijn-Stamos, she allows herself freedom to portray Laure with different shades of personality. At first we think
she's a thief, then she's a heroine akin to film noir, and finally a dangerous woman who gets what she wants. Which is it?
There's enough room here to make an argument for any of the three. Laure is played as a powerful woman who uses all
her weapons - beauty, intelligence, adaptability, sex - to accomplish a particular objective. Banderas is merely along for the
ride, more of a bystander than anything important to the film. Instead, he tries to keep up with the luminous Romjin-Stamos.
Whether the viewer will appreciate what Femme Fatale accomplishes is based soley on their ability to be an active observer,
intent on understanding what De Palma has buried beneath a glossy surface. This is one of those rare occasions when an average
film can be transformed into something much more, something that beckons the audience to pay attention, to come along
for the ride. For those adventurous moviegoers, Femme Fatale has a lot to offer.
© 2002 Jonathan Cornwell
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 |
 | Masterpiece - Film perfection |
 | Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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