Review of Repulsion (1965) by Anthony A — 07 Aug 2009

Even if the viewer's been mesmerized (as I) by Deneuve as "Belle De Jour" or "Mississippi Mermaid," he/she'll be disappointed in this, Deneuve's first real outing as lead role, at 20 years old.

Billed as psycho-thriller, but moreso extended, plodding character study of a very, very troubled young woman. Though snail-paced start to fin, by twenty minutes in, it's plain that Deneuve's toting a suitcase full of psychoses; she's agoraphobic, introverted, puerile, OCD and frigid. Her sister/roommate sees, but lives in denial. When sis abandons her in their apartment, Deneuve's psyche plummets straight down a delusional rabbit hole so deep that even serious dosing of pharmaceuticals would be pointless.

Polanski's camera extensively examines the minutest details of Deneuve's descent; when she obsessively stares at a Y-shaped crack in the sidewalk, the viewer stops and stares with her. Few will need a PhD in Freudian Analysis - or even need see this film - to guess what earlier traumatic event has brought Deneuve to this state of mind.

B&W, superior Criterion resto.

It's Polanski's directing and camera work, not Deneuve's weak delivery (and that mostly coaxed out by Polanski), which informs the viewer. When Deneuve wields an angry candlestick against a man - given all men 'repulse' her - it is the result of hours of off-screen badgering by Polanski toward getting the shot. As such, this filming likely taxed both of them.

But based on what Deneuve was able to deliver Bunuel in "Belle De Jour" just two years later, she apparently gained much from her experience here under Polanski. Nevertheless, casting neophyte Denevue into this incredibly complex character placed her in way too far over her head - and it shows.

RECOMMENDATION: Unless the viewer's a Deneuve/Polanski completist, best to take a pass.