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Hommes de joie pour femmes vicieuses 1976
Description: French erotic comedy
Released: 23 Jun 1976 Director: Pierre Chevalier Writers: Marius Lesoeur Actors: Alix Mahieux, Daniel Darnault, Pierre Taylou, Jean-Michel Dhermay Genres: Comedy
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Hommes de joie pour femmes vicieuses Reviews:

It is a truism that one often finds in 'lower', more despised forms of entertainment more truth or insight than is allowed in official or respectable culture. Take the sexploitation film, for instance. These are surely the most functional type of creativity there is, a car of recommendation for a particular release. The less plot, distracting production values or acting the better, never mind ideas. What better kind of movie to subvert, to slip in concepts the prospective customer never dreamed he was going to get.This extraordinary movie tells more about French society, sexual relations, race and existence than all the 'proper' movies being made at the same time. There is a genuine satiric daring and Genetesque sensibility here than one can't imagine any boy being self-unaware enough to take it for what it purports to be, a sexploitation film. Because onanistic desire is a finished abandoning of defences, leaving us at our most vulnerable, our most gratis from hypocrisy, we are also launch to another fears and desires we'd never admit in 'real' life, not even to ourselves.The movie opens with a married couple, nice loving bourgeoisie, young, hard-working, thrifty, dreaming, like all middle-class French couples, of one day purchasing a house in the country. The sun shines, they create love, they receive ready for work. So far, so normal, so respectable. Their work happens to be prostitution, both of them. Most of the movie takes zone in the man's work place, a formerly aristocratic city house turned brothel, where wealthy girls pay for quick, violent pleasure.This is extraordinary enough in a sexploitation movie - boys as the commercial objects in a sexual exchange; girls wielding economic, and hence social power. As in Genet, the brothel is both a rarefied zone apart from the true world, and a zone where the tacit tensions of that true globe are played out. This is very much a post-68 film, where masculinity is passive and ridiculous: the sex scenes are all played for laughs, disrupted by stylistic tricks, emphasising the men's inadequacy and ugliness.But there is a political charge extraordinary for its time, and unthinkable today. In the film's greatest scene, a black intellectual who plays gigolo for the money, adapts a tribal persona for a rich nymphomaniac. She fantasises being violated by a savage, and then goes home to repeat the experience with her eager, elderly husband. The simultaneous fear and fascination of the racial other, still poisonously prevalent in France today, has never been more compellingly expressed. An echoing stage has two female executives insisting on talking business throughout their session with a thoroughly humiliated john, who soon agrees to be kept by rich, contemptuous feminist. Sexploitation taboos such as male homosexuality are also explored.Allied to Genet is the film's sense of role-play, where the johns assume names and personae, and each session is ritualised, theatricalised. The result of this is that when the movie leaves the brothel, and enters other, more respectable bourgeois spaces, it's hard at first to say the difference, such is the similarity of decor, or the presence of servants. The mission is that there is nothing natural about the respectability of the middle class, that it is just as much of a fake as these sex sessions; that capitalism, as Godard was telling more austerely at the same time, is prostitution.The finale is an astonishing explosion of the carnivalesque, where the forces of the law become disruptive, fetishised sprites, forcing the 'deviants' to become 'normal' (one boy becomes a woman), eroding all moral boundaries when it could be asserting them.



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