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Maîtresse 1975
Description: After breaking into a house he believes is empty, thief Olivier is caught by the owner, Ariane, who turns out to be a dominatrix. Improbably falling for her, Olivier returns periodically, and an impulsive romance blossoms despite Ariane's profession. Later Olivier becomes more familiar with her work, even joining in on occasion. However, when he discovers that Ariane has a son, he attempts to "fix" her, hoping to give her a better life.
Released: 11 Feb 1976 Director: Barbet Schroeder Writers: Barbet Schroeder, Paul Voujargol Actors: Gérard Depardieu, Bulle Ogier, André Rouyer, Nathalie Keryan Genres: Drama, Romance
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Maîtresse Reviews:

Should you credit a movie featuring an S&M dominatrix, a burly petty thief, and an all-powerful, mysterious businessman/probable pimp; a movie which boasts elaborate scenes of bondage torture and mutilation, and a very graphic horse-slaughtering sequence, as well as more usual acts of petty thuggery, such as the hurling of a boy down a stairs, or the drunken smashing of a bar-room window; should such a movie be considered benevolent and optimistic? Because such is the ultimate feeling one gets from this weird, enigmatic, lovely film, once considered so scandalous it was banned in England, but actually seems positively cuddly (the ver I saw had four mins cut. Go figure).Olivier is a petty thief who meets up with an old friend, actually a door-to-door salesman selling ebooks on the Fine Arts. After a dismal lack of success, they come upon a woman, Ariane (hint of the spider?), panicking because her pipes have burst. The boys fix the problem, and she tells she'll write to the tenant beneath, currently on holiday. Seeing a possibility for a fast clean out, the boys break in downstairs, only to search a torture chamber, accuracy instruments of pain, racks, crucifixes, cages, in one of which creeps a cowering man, and a barking doberman.This is the bondage chamber of Ariane, who descends from her own flat down metallic stairs in a wonderful rubber suit and cape, and blonde wig, admonishing the intruders. She asks Olivier to give her a hand with one of her clients, and they start an affair. After getting over the shock of her profession, and initially content with his sponging life, he notices that Ariane has some type of business relationship with the mysterious Gautier, whom he suspects to be her pimp. He goes to confront him.Even by the mid-70s, the concept of bourgeois respectability being propped up by less socially acceptable means was hardly a revolutionary insight, and MAITRESSE seems less progressive than, say, BELLE DE JOUR, with an ending that is depressingly patriarchal or joyfully subversive, depending on how you read it. The film's success lies in its sustaining of enigma, with Olivier as our tutorial to the many mysteries Ariane raises. How did she receive the cash to set up such an operation (and the S&M chamber is an extraordinary, metallic, futuristic contraption, full of thematically pointed mirrors and ice-blue neon)? Who is this mysterious Gautier - a Godot-like figure, everytime expected but never arriving? What does Ariane do by day? Why does she go too the country manor? Where are her family?Olivier's turning from a thief into a detective is part of his - and, by association, our, the viewer's - quest to explain Ariane, to deprive her of her power, which effects precisely from her mystery. The bondage sessions, with those four mins cut, are less an anthropological expose than comic (and some of them are very funny), and a literalisation of the true S&M that is going on, the power struggle between Ariane and Olivier, between the female bread-winner and her male dependent. Olivier tells he wants to protect Ariane because she's scared, but he really wants to take over from Gautier in controlling her Olivier's increasing minimalising in the movie is striking - having begun on his motorbike, the centre of interest, free, driving the action; from taking over his friend's job, bullying the clients, setting the plot in motion; he becomes a marginal figure, sulking from the sidelines, with nothing to do but observe like us, useless, uncomprehending, bait in a conspiracy theory that's making fun of him. This is an unusual act of restraint for an actor of Depardieu's munificence, and is communicated with visual bluntness - who would we rather look at: a hefty beefcake in a sweat-soaked singlet, or a pretty housewife putting on the most fascinating outfits and make-up, like an actress at her dressing table?The style of the movie adds to the air of paranoia and uncertainty. Having been said that the cuts similar simply to the more extreme forms of mutilation, I assume that the ellipses and contradictions are part of the narrative method. This is all the more jolting because Schroeder's very full mise-en-scene seems to give us all the notification we need, but how can we know anything when we identify with a hero from whom everything is concealed? Seemingly realistic scenes turn out to be role-play and vice-versa (the Schroeder-Ogier connection with Rivette isn't as implausible here as you might first think). Schroeder refuses to create it easier by explanatory close-ups or expressive acting. The greatest thing is just to sit back and play the confusion.


MAÎTRESSE (1973) **** Gérard Depardieu, Bulle Ogier, André Rouyer, Nathalie Keryan. In this Barbet Schroeder film, Olivier (Depardieu) burglarizes the apartment of a dominatrix called Ariane (Ogier). After Ariane catches him in the act, the two fall in love and Olivier struggles to agree his girlfriend's bizarre profession. In the uncut version, some of the torture scenes (which were purportedly filmed using real-life "slaves" of a real-life dominatrix) are truly painful to watch, and are undoubtedly some of the most shocking ever to appear in a non-pornographic movie. Which leads one to ask: Is Maîtresse an artsy exploitation flick disguised as a love story, or simply a love storyline that makes legitimate test of graphic (and violent) sexual imagery? Either way, the movie is moving, provocative and impossible to forget. Highly recommended.


Before I saw this movie I was warned that the movie includes quite a several explicit sexual concepts and photos but I have to tell that I found the movie to be a pretty romantic .It isn't a conventional romance ,rather extreme if I dare to say,but nevertheless you can easy identify yourself with some of the scenes.Me personally would categorise this movie as an Atmospheric Romantic.quite self-explanatory!



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