 |
| Charlotte Rampling and Dirk Bogarde in The Night Porter |
I don't mind if a movie is offensive as long as what it makes me think and feel is more significant than what offends me. But Liliana Cavani's The Night Porter, celebrated and damned for its offensive central story, the doomed love affair of a former SS officer and the concentration camp survivor whom he loved and abused, doesn't have enough substance to its characters to make its offensiveness meaningful or even credible. Despite performances of deep conviction by Dirk Bogarde as Max and Charlotte Rampling as Lucia, we still know them by their labels: ex-Nazi and masochistic victim. We can only infer why they were drawn together in the camp and why they remain drawn together years later, when he has become a night porter in a Viennese hotel that's a hotbed of decadent characters and she has married a celebrated orchestra conductor. What causes Lucia to give up this apparently successful marriage to degrade herself with this creep? And what's with this assortment of ex-Nazis who are destroying old records and eliminating witnesses to their wartime crimes -- other than, of course, a plot device that puts the lives of Max and Lucia in jeopardy. Why is there a long sequence about the ballet dancer who used to perform shirtless for the SS and now seems to be restricted to private performances for Max, who works the lights for the performances? Is it to evoke the homoerotic element of Nazism, itself a wrongheaded and offensive trope? Nothing in The Night Porter holds up to very close scrutiny. And yet it's a hypnotically watchable film that dares you to take it seriously as it unrolls, but just left me feeling jaded and unsatisfied when it was over.
