Markisinnan de Sade

Mishima's exploration of the pursuit of sexual violence (inflicted and received) as an antidote to moral hypocrisy and a pathway to the infinite is certainly more than merely a historical curiosity, but at the same time it does seem a bit kitschy. The events depicted (rather statically by Mishima) are of inherent interest, however: for Mishima, it is a matter of the construction of the (Western) world we now inhabit; Bergman, though, adds a few Japanese touches as a nod to the source. An oddity.

Probably a film more about where Sade's attraction lies and what he opens up for people in general, than about what it means for women (though the film's interesting partly because masochist enjoyment is unavoidably in a fascinating entwinement with what we can define as female sexuality): where conformity sees law-breaching and degeneration, Sadism sees gift exchange and pursuit towards infinity both opened up by and in perpetual tension with social conventions and control in general.

This is a novelty: Bergman adapting a Mishima play. An all-female cast gives a look at the transformation of some of the women in de Sade's life during his imprisonment. The Noh-style staging and samisen music are nods to its Japanese roots, but the emotional intensity and moral complexity are pure Ingmar. The heightened dialogue and close-ups at times threaten to turn the whole thing into self-parody, but I was pretty engaged nonetheless.