As a cinephile who has spent countless hours immersed in the world of film, I find myself consistently drawn to movies that defy expectations and challenge societal norms. In this regard, Ken Russell‘s “Crimes of Passion” truly stands out as a masterpiece. The way Russell uses contrast and color to delineate the two worlds inhabited by Joanna Crane and China Blue is nothing short of genius, reminding me of Federico Fellini’s work in “Satyricon.
The films created by Ken Russell stand out as some of the most distinctive in cinema history. In “Altered States,” he led viewers on an exploration into the darkest corners of the mind, showcasing surreal and tormented visuals. With “Tommy,” he introduced the rock opera to a broader audience, offering a critique on the culture of celebrity obsession and the messianic fervor that often surrounds it, as a reflection of The Who’s album about rejecting drug culture. Russell’s most contentious work, “The Devils,” adapted from Aldous Huxley’s book “The Devils of Loudun,” challenged the arrogance and morality of organized religion.
This year marks the 40th anniversary of the film “Crimes of Passion”, which is known for its connection to erotic thrillers and features the unique style of director Ken Russell, blended with elements from the philosophy of the Marquis de Sade. It also offers one of Kathleen Turner’s most captivating performances. Despite receiving unfavorable criticism and harsh comments from some actors during production, “Crimes of Passion” stands as a significant cinematic milestone from one of cinema’s influential visionaries.
Crimes of Passion and Crimes of Love
Initially, “Crimes of Passion” appears to be just another erotic thriller that uses intense sexuality to stimulate the audience’s senses. However, as with many films directed by Ken Russell, there’s a lot more beneath the surface-level visual style. Joanna Crane (played by Kathleen Turner) seems like the typical 1980s yuppie female executive, known for her power suits and shoulder pads in the fast-paced business world. Yet, Joanna has a secret life, which serves as an escape from reality, drawing inspiration from Marquis de Sade’s libertine philosophy. By night, Joanna takes on the alter ego of China Blue, a sex worker who wears a blonde wig and flashy clothing to fit her role as a “woman of the night.
This transformation, enabling her to break free from the conventional life, can be likened to the character of Juliette, crafted by the Marquis de Sade. In her book, “The Sadeian Woman and the Ideology of Pornography,” Angela Carter portrays Juliette’s actions as “sexuality as a form of rebellion.” Navigating in a world dominated by men, Juliette strategically manipulates societal norms to challenge traditional gender roles, assert power, and achieve her freedom. The libertines in De Sade’s works, including “Juliette,” “The 120 Days of Sodom,” and the fittingly titled “The Crimes of Love,” are self-centered individuals who indulge in pleasure as they please. Their misdeeds stem from a discontent with the monotony of everyday life.
Joanna’s counterpart, in a sense, can be seen in John Laughlin (Bobby Grady). In a loveless marriage with Annie Potts, Laughlin is hired by Joanna’s employer to spy on her, but ends up becoming one of her clients and eventually, her lover. The intense sexual tension between Turner and Laughlin mirrors some of de Sade’s themes, showcasing a passionate desire that transcends conventional norms. Similar to the libertine character, marriage’s moral standards feel restrictive, while indulging in hedonism and lust brings about freedom and satisfaction instead.
In the trio shaping the momentum within “Crimes of Passion,” it’s Peter Shayne (Anthony Perkins) who takes center stage, a recurring character in de Sade’s works. He is a seemingly religious figure whose secret vices are hidden beneath his cloak of righteousness. De Sade’s writings often feature characters like this, with the Bishop in “The 120 Days of Sodom” being a prime example. Shayne, the wolf in sheep’s clothing, exploits women of ill repute under the guise of rescuing them.
Presentation and Performance
A frequent complaint about many giallo and erotic thriller movies is that they prioritize style over story, often being criticized as plotless. However, Crimes of Passion, a film deeply influenced by de Sade’s philosophy, showcases Ken Russell’s signature traits, particularly its visually arresting presentation capable of startling the viewer in numerous ways. Russell skillfully employs contrast and color to distinguish the two spheres inhabited by Joanna and China Blue. Reminiscent of the dichotomy between logic and emotion in the human brain, these realms are characterized by virtue and vice respectively.
Joanna Crane and Bobby Grady live in a routine, unremarkable life filled with work and marriage, far from the thrill that one might imagine. The dull colors and settings, often bright white or beige, reflect the dissatisfaction and monotony stemming from societal norms. However, Joanna’s transformation into China Blue brings a dramatic shift. Her flashy platinum blonde wig and fashionable attire stand out against the neon-lit streets of the red-light district where she operates. This use of vibrant colors to highlight the contrast between two worlds echoes the technique used by Federico Fellini in his work, “Satyricon.
In the fictional realms of the movie Crimes of Passion, there’s more to discuss, but let me focus on the exceptional performances of Kathleen Turner and Anthony Perkins. Their acts were nothing short of magnificent, further demonstrating Ken Russell’s remarkable talent for extracting outstanding performances from the actors he directed. In this case, Kathleen Turner particularly stands out, as she delivers a performance that not only meets but exceeds audience expectations, leaving an indelible mark.
Anthony Perkins, playing Peter Shayne, delivers an exceptional performance that almost single-handedly dominates the show. Notably recognized for his depiction of Norman Bates in Psycho, Perkins skillfully revisits the cold and menacing qualities of one of cinema’s most notorious villains. His portrayal is chilling and disquieting, with his fixation and madness keeping viewers on edge, constantly questioning what his next move might be.
Passion That Defies Expectation and Thought
In “Crimes of Passion,” director Ken Russell crafted a gripping thriller whose performances surpassed predictions and offered profound philosophical layers, subtleties perhaps unnoticed at its initial release. Similar to other instances where box office success fails to reflect quality, “Crimes of Passion” is a thought-provoking film that showcases the acting prowess of its cast, seamlessly blending visual flair and suspense to guide viewers through a world exploring the struggle against societal norms and rigid roles.
Apart from finding Ken Russell’s film “Crimes of Passion” incredibly intriguing, it serves as a testament to the fact that artistic works with ambition are worth celebrating because they often challenge conventions and break the mold. While some genres may be criticized for perceived lack of depth, there is always a deeper significance waiting to be understood, making thought-provoking cinema a timeless treasure.
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2024-10-12 17:31