THE NIGHT AND THE MOMENT
US, 1994, 90 minutes, Colour.
Willem Dafoe, Lena Olin, Miranda Richardson.
Directed by Anna Maria Tato.
The Night and the Moment is based on a story by Claude Crebillon Fils, a prominent libertine author of the early 18th century. This is the period of Casanova and Dangerous Liaisons, the pre-revolution France with its Bohemian literary authors, the age of reason flaunting of traditional church teaching on ethics and morals. The emphasis was on freedom, sexual freedom, seduction and power. The novel seems a far cry from conventional morality of any century.
The film version is a stylish presentation of the issues of libertine literature, especially in verbal debate, the playing of intellectual games and explorations of philosophical stances. The film takes this structure, a conversation during the night between a writer and a marquise at her chateau. As expected, the film culminates in an erotic encounter. However, the debate and the encounter as well as the intimacy lead to a reappraisal of stances.
Willem Dafoe seems a strange choice to portray the writer, seeming neither to have the appearance, the height or the charm. However, he gives an interesting performance. Lina Olin is far more persuasive and eloquent as the marquise. Miranda Richardson appears in a supporting role, as does Jean Claude Carriere, the co-writer of the screenplay with its director Anna Maria Tato. (Carriere wrote many of the screenplays for Luis Bunuel.) The film looks beautiful, with Giuseppe Rotunno as director of photography, and there is a lush score by the prolific Ennio Morricone. The film highlights how the libertine perspective on sexuality, freedom and relationships is in direct contrast with puritan traditions.
1. Attitudes of the 18th century and the 20th century towards sexuality and relationships? Libertine stances? Morality?
2. The film as an 18th century pageant, as an essay and debate, as an erotic film?
3. The international stars, director, director of photography, musical composition? A European film?
4. The re-creation of the period, the exteriors and the carriages and horses, the interiors of the marquise's chateau, of the prison? The atmospheric score?
5. 18th century writers and their moral stances, Casanova, Dangerous Liaisons, pre-revolution France of the age of reason?
6. Issues of sexuality, personal freedom, seduction and power, lust, love, playing games? The evaluation of stances?
7. Erotic games, power, relationships, intimacy, loneliness and suffering?
8. The writer and his story, with the group at the meal, his pursuit of Armande? Going to the marquise's room, the play on words, the intellectual and emotional games, verbal fencing? His stories, his relationship with Armande, with Julie? Learning from these? Getting into the marquise's bed? Her story of the disguise and the seduction? His story of his arrest, the cell, the hole in the wall, the request to write a story, his love for the unseen woman, the interviews with the governor, the inquiry? Her leaving the prison?
9. The marquise and her surprise at the writer's coming, her seductive intention, her resistance, her eloquence in verbal games, the stories, listening to the writer, the opera disguised story, the woman in the cell, the gradual revelation of the truth? The erotic encounter? Her changed attitudes or not? Her changing the attitudes of the writer or not?
10. The character of Armande, her relationships, place at the chateau, the affair with the writer? His discarding of her?
11. The contrast with the story of Julie, her theories about fidelity, sexuality? The education of Julie? The writer and his regard for her, discarding her?
12. The governor, the interviews with the writer, his stances, the arrangement for the woman to be in the next cell?
13. Libertine philosophy, its being presented verbally and in story? The erotic sequences and their effect? Intellect and sensuality? Emotions? Loneliness, love and lust? Love and commitment?
