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The Duke of Burgundy
[Blu-ray]
Blu-ray A - America - Shout! Factory Review written by and copyright: Anthony Arrigo (18th October 2015). |
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The Film
 The phrase “they don’t make ‘em like they used to” is often bandied about when discussing certain types of cinema, but one sort that really isn’t made anymore is Eurotrash/Eurosleaze. Those thinly-plotted sex romps of the 60's and 70's, where story was secondary to seeing reasonably attractive men and women get naked and get down, is all but extinct in today’s cinematic world. There’s a certain charm to some of those bawdy pictures, though most would agree they were far from high art – but that doesn’t mean elevation is impossible. Enter writer/director Peter Strickland, who has created a stunning achievement with “The Duke of Burgundy” (2014), a kinky tale of dominance and submission, ritual and reward. At its core the film seems tailor-made for, say, a Jess Franco type, yet the execution and the style are the sort expected from a slick art house Oscar bait picture. After breezing through some gloriously retro opening credits, the film introduces Evelyn (Chiara D’Anna), a housemaid who works for Cynthia (Sidse Babett Knudsen), a butterfly expert who lives in a large country home. Cynthia is cold and terse with Evelyn, commanding her to perform routine household chores as well as some not-so-common requests. When Evelyn fails to perform her duties as told, her punishment is… unexpected (and no, I won’t spoil it here as other reviews have). It eventually comes to light that things are not as they seem – Evelyn and Cynthia are lovers, living together, and the strict disciplinarian Cynthia portrays is an artifice. It is, in fact, Evelyn who carefully curates the duo’s BDSM scenarios, writing scripts on index cards and coaching Cynthia on how to properly punish her; topping from the bottom, if you will. The problem in their relationship is the same as that of many couples, kinky or not: boredom. Cynthia is growing tired of Evelyn’s constant need for punishment; her desire to up the ante and test limits. She wants a sense of normalcy. This struggle is best exemplified when the couple invite over a woman who makes custom BDSM furniture, hoping she can craft for them a bed which has a built-in chamber under the mattress where Evelyn can be tied up and left for the night while Cynthia sleeps above her. The bed can be made in eight weeks; Evelyn wants it in two, for her birthday. When the woman states this is not possible, Evelyn looks as though someone just murdered her dog. As a consolation prize, the woman offers a “human toilet” instead – Cynthia leaves the room, seemingly in disgust, while Evelyn’s eyes light up like it’s Christmas morning. Cynthia allows it to be known she isn’t happy; first by acting out scenarios which are not to Evelyn’s liking, and secondly by flat-out stating her grievances. The final straw comes when Evelyn is accused of cheating after performing a seemingly benign act that holds great titillation to people with her interests. Her unquenchable desires have run Cynthia ragged. Cynthia feels old, used; just a means to an end for Evelyn. Her recurring back ache is a reminder that age is catching up. How long can this go on? Perhaps they can try to live as “normal” people do, but old desires are difficult to suppress. The greatest strength of “The Duke of Burgundy” is in its simplicity. The story focuses almost entirely on the relationship between Cynthia and Evelyn, and while there are a few tangential characters present (including former Jess Franco favorite Monica Swinn as a neighbor) they hold little sway over the plot. Also of minor note: there is not one male to be counted among the cast members, background or otherwise. I love how Strickland initially draws viewers into Cynthia and Evelyn’s world by presenting it as Evelyn’s idealized fantasy – she is an innocuous maid while Cynthia is Queen B*tch on Cold Mountain, barking orders and meting out punishment with impunity. When the reality of the situation is revealed, it completely turns the film on its head and forces an immediate reexamination of what we’re seeing. Strickland doesn’t throw in unnecessary plot elements, and he doesn’t have to, because watching these two women battle for a spot between fantasy and normalcy is exciting enough. Have I mentioned this film is absolutely gorgeous? The fetishizing and reverence done by our lead characters is reciprocated by the film’s director, who imbues even the most mundane shots with a languid beauty that instills a sense of purpose and warmth. Strickland’s film could work as a purely silent endeavor and still be utterly breathtaking and easily watchable. The subject matter might be a bit esoteric for some (most?), but true cinephiles will revel in what is being presented here. I doubt a more beautiful picture will be released this year.
Video
Presented with a 2.35:1 1080p 24/fps AVC MPEG-4 encoded image, “The Duke of Burgundy” looks spectacular. Strickland doesn’t waste an inch of space, filling every scene with minute details and fine textures that glisten in full HD. Colors are rich and natural in appearance, though the palette is decidedly subdued with few primaries to pop. Black levels are perfectly dark. Contrast remains strong throughout.
Audio
While it may seem like overkill to grant a dialogue-heavy film an English DTS-HD Master Audio 7.1 surround sound track (48kHz/24-bit), the score, courtesy of alternative pop duo Cats Eyes, is a sumptuous feast for the ears. The duo combines so many styles, delivering compositions that are psychedelic and whimsical, baroque, Morricone-inspired and classically romantic. Furthermore, the soundtrack features instances of droning instrumentation and disorienting effects, at times overpowering the dialogue and putting viewers into a hypnosis of sorts. Subtitles are available in English SDH and Spanish.
Extras
The bonus features included here – audio commentary, interviews, deleted scenes, a short film, and promotional materials – are of great importance if you have enjoyed the film. These extra features delve deep into the film and its meanings, shedding a great deal of light on characters and motivations. Peter Strickland, the film’s writer/director, delivers a fascinating audio commentary that touches upon his early aspirations to remake a Jess Franco film before settling on something simply inspired by the infamous director, as well as examining the couple’s power dynamics, concepts, references and more. “Director Interview with Peter Strickland” (1080p) this interview runs for 11 minutes and 36 seconds. Some of the discussion here is redundant after hearing the audio commentary, though if you pass on giving that a listen this piece will provide some basic details. A lengthy reel of deleted scenes (1080p) runs for 44 minutes and 26 seconds. Though not broken up into chapters accessible via the menu, the presentation here is marvellous. Each scene is preceded by a text card, explaining exactly why the scene was cut and where it was to appear. This offers a glimpse into considerations often hidden from public view. “Conduct Phase” (1080p) is a short film that runs for 8 minutes and 11 seconds. The experimental film focuses on dogs, shot off an island in Greece. “Cat’s Eyes” (1080p) is a trippy music video, done as promotion for the group, which runs for 4 minutes and 55 seconds. The film’s theatrical trailer (1080p) runs for 1 minute and 58 seconds. A still gallery (1080p) runs for 8 minutes and 31 seconds, containing 103 images.
Packaging
The single disc comes housed in a standard Blu-ray keep case.
Overall
Dripping with eroticism and kinky role playing, “The Duke of Burgundy” is likely to be one of the most uniquely perverse films viewers have seen in years. The biggest shame is it will remain overlooked.
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