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Given how contentious (and often male-dominated) the debate about how society treats female agency has often become, it’s a very good thing that the Criterion Collection has just rereleased a scintillating French courtroom drama that lets the woman have the final word. The film is called La Vérité (“The Truth”), directed by the great Henri-George Clouzot (the auteur behind superb thrillers like Diabolique and The Wages of Fear) and starring none other than Brigitte Bardot in a tour-de-force performance.

The film was a huge hit and quite a success de scandale when it was first released in 1960, with the cinema-mad Parisian press going nuts over leaked accounts of its stars’ canoodling and the film’s tempestuous production. La Vérité’s storyline is far more captivating than even the tabloid presses’ wildest dreams; the picture it paints about the way a supposedly egalitarian society understands women as moral and physical beings is far more damning than a paparazzi’s surreptitious snapshot. The film’s crackling themes of sexual politics, female agency, and the public interrogation of a woman’s private life conducted almost entirely by men ring as painfully true today than it did when it was first released.  More… “Handling the Truth”

Matt Hanson lives in Boston and writes for The Arts Fuse,  Boston’s online independent arts and culture magazine.  His work has also appeared in The Baffler, The Millions, and 3 Quarks Daily, and other places.  He can usually be found in the nearest available used bookstore.

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This essay includes a quote from The Shining wherein a racist term is used to demonstrate a dramatic shift in the narrative. 

The Shining is the most exciting and complex narrative motion picture in existence. The Shining lives on. The very two words of the title uttered by human breath ooze warmth. The sibilance of the syllables attack because of the film’s iconography: Jack, the ax, the hotel, the Big Wheel, REDRUM, the blood pouring out of the elevator, the white bathroom door being broken down, climaxing in “Here’s Johnny!”, from the moving opening shot on the water in Glacier National Park to the last ghostly blue titles on black, THE END. In between is spectral subject matter, and like the other Kubrick films, 2001: A Space Odyssey and Eyes Wide Shut, it touches something raw, something we often can’t help keep hidden—our fear of death. It isn’t timeless because its time will never come; it’s timeless because it will always be ahead of time. Yet Kubrick told Jack Nicholson, “In reality, this is an optimistic picture…in some way this movie is about ghosts…anything that says there’s anything after death is an optimistic story.” More… “Shining On”

Greg Gerke’s work has appeared in Tin House, Film Quarterly, The Kenyon Review, and other publications. See What I See, a book of essays, and, Especially the Bad Things, stories, will both published by Splice in the Autumn of 2019.

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