BENEDETTA
It was also in 2019, that Paul Verhoeven's latest film “Benedetta” topped my most anticipated list, but the reasons why this film did not make its originally planned year of release are much different than that of the ill-fated “The Woman in the Window”. The film was shot all in good time, however soon after shooting, director Paul Verhoeven needed to have surgery and it was decided it was better to wait until after his recovery from this to start on the post-production process rather than to rush through it before the operation, in an attempt to make a release date. However, this decision was made before the worldwide pandemic had begun, so you have to wonder if the producers would have made the same choice today, because the pandemic cost “Benedetta” another full year before it finally saw a release. Anyway, with it being my most anticipated of 2019, it wouldn't be hard to imagine that I would have thought that “Benedetta” would feature on my Top 20 list rather than my guilty pleasure.
Let me get this out there right away; I love Paul Verhoeven and think that he is a far more serious directorial talent than most people give him credit for. Technically he is brilliant, the man knows how to put together a fantastic film. However due to his penchant for extreme violence and his honest and graphic handling of sexuality in his films, I feel that he isn't thought of as anything more than a pervy guy who makes entertaining films. Yes, there is often a lot of blood, sex and nudity in his films, but in my opinion, he never includes these elements without it adding to the story he is telling. He doesn't just add nudity for the sake of it, there is always a point, even if that point has to do with sex. (Also when it comes to nudity, he is very equal opportunist in that he has no issues with showing either male or female nudity). The same can be said for when he uses violence too. The man is not doubt a provocateur, but that is what makes him so special. I bring all this up because once, when interviewed about the provocative elements he uses in his films and why he does it, he responded with one of my favourite quotes about Verhoeven. Whilst laughing and not taking himself seriously at all, he answered “well, because......because......because, well because I am a child”. He had his tongue planted firmly in his cheek whilst saying this, but this is the main reason I have chosen “Benedetta” as my guilty pleasure of 2021.
For those that do not know, there is strong lesbian content in “Benedetta” and for once, it felt very childish, almost like the scenes and images of the sex and nudity came from a cheeky child rather than a grown adult who had serious things to say about the church. Do not get me wrong, Verhoeven definitely has a lot to say in “Benedetta” too, it is just the salacious elements that most people usually associate him for, are more silly and child-like here. For example, there is a moment in the film when Benedetta, who is a nun, pleasures herself with a wood carving. The carving of course is of the Virgin Mary. It just seems so obvious and silly, like a little boy trying to come up with the naughtiest thing he could think of came up with this moment. I also felt the same to the violence in the film, like when we see Jesus riding bare-chested on a horse, beheading people who are after Benedetta. Whilst this moment is during a vision, and not set in reality, it had a very cheesy feel to it, that I did not respond to. I mean, I laughed at the audacity of Verhoeven including such a moment, but it felt crass, rather than classy. Similarly, the moment of Benedetta being attacked by the snakes with Jesus once again saving her with his sword; it all felt very silly.
I think the film settles down more in the second half and has some interesting things to say about religion and especially the hypocrisy of the church, and it is here when I think the film is at its strongest. The way that the Church exploits Benedetta when they believe it will help “them” and bring them wealth, and then the way they turn on Benedetta when her words and actions (whilst God speaks through her) prove to be detrimental to the establishment of the Church (while at the same time she is still being true to the religion that they are meant to represent); that is all great stuff. I also love that Verhoeven leaves the film open as to whether or not Benedetta was touched by God for real, or a fake. I think that “Benedetta” is a good film, just not a great one. Like all of Paul Verhoeven's films, it has been excellently put together, it is just that I was hoping that it would hold more weight than it actually does. Once again, I am sure that Verhoeven has his tongue planted firmly in his cheek and that his, at times, almost comedic approach to the material is deliberate, but I was hoping for a more serious take on the subject of religion and its clash with sexuality. Again, I do like the film, but just not as much as I hoped.
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