The Night Porter is a tough, confrontative but rewarding psychological thriller about two people thrust together under very different circumstances to what it was they were both experiencing the first time they met. In the present day, that is to say 1950's Vienna, they are an extremely wealthy female Countess and a shrewd, brash male boss of a small group of staff that do well to keep a luxurious Austrian hotel running as well as it does. What they once were, however, is a male who was fairly high up in the Nazi pecking order of a concentration camp and one of the many female inmates inhabiting it. In short, the film is a depiction of power play and sadomasochism - but a power play and such wherein both parties seem to enjoy playing both the roles of the dominant and submissive. When they meet much later on, and much deeper into their newfound relationship these years later, they enjoy the dynamic that comes with it: one half of the twosome allows themselves to be chained up and spoon fed under these controlled conditions, whereas the other needs to constantly be aware that their identity and history are both at threat of being exposed in an instant.
Dirk Bogarde plays Maximilian, or "Max" to most around him; the said character in charge of a group of staff at a Vienna hotel in 1957 whose job it is to meet, greet and help new arrivals of an often affluent nature. Max strikes us as a bit of an animal, badgering and ordering his crew around as if with some sort of experience in running a tight ship and getting what he wants. Upstairs, the quarters wherein the live-in staff rest sport pictures hanging from the wall depicting separate images limited exclusively to topless women and two duelling boxers going at it in a ring. This overwhelming presence of sex and aggression apparent in this collection of images will come to define the central pairing we observe play out. This pairing, consisting of Max and one other, is complete with the hotel's latest arrival: a young woman named Lucia Atherton (Rampling), who arrives with what we presume to be her usual entourage but immediately makes us aware of something not quite right when she spies Max behind the front desk and vice-versa as she stands there in the lobby. His nervous behaviour during the immediate thereafter is distinctly different enough to suggest something has truly thrown him, whereas Lucia's experiences of PTSD that evening (as she flashes-back to her time in Wartime Europe) allude to a greater truth.
It is out of these beginnings that the two come together and go through the tryst that they do. It is one built on an enforced power exchange of the past that was initiated by a greater power beyond either of their control as well as the fresh control over the participant, whose role in any work or casual relationship is usually of a dominant nature, the "submissive" participant now has. The pair of them were based at the same Concentration Camp during World War Two, he has a guard; she as an inmate. We observe how he would shoot live rounds at and around Lucia's person where it's inferred many other inmates have already lost their lives. To this extent, it is a game; someone playing out their designated role of aggressor and forcing the other through metaphorical hoops for their own pleasure.
Away from the central tract are Max's peers: a large group of other war criminals hiding out in the Austrian city who meet around large tables in grand drawing rooms when they need to discuss something. They object to her presence, but Max wants her to stick around. Another aside arrives in the form of an odd, homo-erotic tie he has with a man named Bert (Amodio); a dancer who performs near-nude routines in the sanctuary of his own abode in front of him. He too is dissatisfied at Max's presence in his own life when Lucia comes along.
Issue and controversy will always come with a film such as The Night Porter. It's a film dealing with very morbid triggers for sexualised urges, but it's a film distilling all of this through this back story of a prisoner/inmate Stockholm syndrome situation that is initiated in a Concentration Camp. One scene which will kill the film stone dead for those whom do not take to it arrives during an opera; a sequence with both parties present, although away from each other, and peppered with these flashbacks of varying sexualised activity in the camps whilst the tenor's performance acts as a deeply juxtaposed overture to what we're seeing. The point being we're not supposed to know whose flashbacks they are; whose memories are being shown and thus, remain unsure as to whether each of the person's reactions sync up with how much they're enjoying the evening or the fact their head's are being reignited with "pleasurable" instances from the past. In 1995, Katherine Bigelow would direct "Strange Days" wherein there was a scene depicting a rape. Through the certain means therein, rapist and rape victim could be conjoined in their experience and could both systematically share the pain and pleasure, agony and ecstasy of what the other was feeling. It could be argued Italian director Liliana Cavani was using similar ideas of power dynamics and enforced shifting emotions all of twenty years earlier, and in films that did not need fiction technological USP's to do so. The film has upset some, as did Strange Days; I happened to find it a quite engrossing and really rather well made drama.
Dirk Bogarde plays Maximilian, or "Max" to most around him; the said character in charge of a group of staff at a Vienna hotel in 1957 whose job it is to meet, greet and help new arrivals of an often affluent nature. Max strikes us as a bit of an animal, badgering and ordering his crew around as if with some sort of experience in running a tight ship and getting what he wants. Upstairs, the quarters wherein the live-in staff rest sport pictures hanging from the wall depicting separate images limited exclusively to topless women and two duelling boxers going at it in a ring. This overwhelming presence of sex and aggression apparent in this collection of images will come to define the central pairing we observe play out. This pairing, consisting of Max and one other, is complete with the hotel's latest arrival: a young woman named Lucia Atherton (Rampling), who arrives with what we presume to be her usual entourage but immediately makes us aware of something not quite right when she spies Max behind the front desk and vice-versa as she stands there in the lobby. His nervous behaviour during the immediate thereafter is distinctly different enough to suggest something has truly thrown him, whereas Lucia's experiences of PTSD that evening (as she flashes-back to her time in Wartime Europe) allude to a greater truth.
It is out of these beginnings that the two come together and go through the tryst that they do. It is one built on an enforced power exchange of the past that was initiated by a greater power beyond either of their control as well as the fresh control over the participant, whose role in any work or casual relationship is usually of a dominant nature, the "submissive" participant now has. The pair of them were based at the same Concentration Camp during World War Two, he has a guard; she as an inmate. We observe how he would shoot live rounds at and around Lucia's person where it's inferred many other inmates have already lost their lives. To this extent, it is a game; someone playing out their designated role of aggressor and forcing the other through metaphorical hoops for their own pleasure.
Away from the central tract are Max's peers: a large group of other war criminals hiding out in the Austrian city who meet around large tables in grand drawing rooms when they need to discuss something. They object to her presence, but Max wants her to stick around. Another aside arrives in the form of an odd, homo-erotic tie he has with a man named Bert (Amodio); a dancer who performs near-nude routines in the sanctuary of his own abode in front of him. He too is dissatisfied at Max's presence in his own life when Lucia comes along.
Issue and controversy will always come with a film such as The Night Porter. It's a film dealing with very morbid triggers for sexualised urges, but it's a film distilling all of this through this back story of a prisoner/inmate Stockholm syndrome situation that is initiated in a Concentration Camp. One scene which will kill the film stone dead for those whom do not take to it arrives during an opera; a sequence with both parties present, although away from each other, and peppered with these flashbacks of varying sexualised activity in the camps whilst the tenor's performance acts as a deeply juxtaposed overture to what we're seeing. The point being we're not supposed to know whose flashbacks they are; whose memories are being shown and thus, remain unsure as to whether each of the person's reactions sync up with how much they're enjoying the evening or the fact their head's are being reignited with "pleasurable" instances from the past. In 1995, Katherine Bigelow would direct "Strange Days" wherein there was a scene depicting a rape. Through the certain means therein, rapist and rape victim could be conjoined in their experience and could both systematically share the pain and pleasure, agony and ecstasy of what the other was feeling. It could be argued Italian director Liliana Cavani was using similar ideas of power dynamics and enforced shifting emotions all of twenty years earlier, and in films that did not need fiction technological USP's to do so. The film has upset some, as did Strange Days; I happened to find it a quite engrossing and really rather well made drama.