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THE LAST MISTRESS (UNE VIELLE MAÎTRESSE) Send This Review to a Friend
Very, very French is how one might regard “The Last Mistress,” a steamy story of love, lust and betrayal based on the 19th century novel by Jules Barbey d’Aurevilly and filmed with period elegance and a large cast by writer-director Catherine Breillat, who is known for her daring screen sexual candor as she explores the intricacies of relationships in attention--grabbing ways.
Aristocratic Ryno de Marigny, played audaciously by handsome newcomer Fu´ad Aît Aattou, is to marry the young, beautiful Hermangarde, portrayed with proper aristocratic bearing by Roxane Mesquida. But de Marigny has been carrying on a torrid love affair with the seductive, tempestuous and older La Vellini, played by the fascinating Asia Argento. She is fiercely jealous of the impending marriage, and the sultry, strong-willed lady will not go quietly into the night. At first she angrily tries to put him out of her life, but she harbors a passion for him.
The story moves in the tradition of such adaptations with a grand style that a French movie can bring to such a subject. It effectively explores the conflicts and crises that pulsate with sexual and emotional underpinnings.
I was surprised to find Claude Sarraute as the Marquise de Flers, grandmother of the bride-to-be. I had known Ms. Sarraute earlier in life as an important journalist and critic for Le Monde in France, not as an actress. It was a pleasant surprise to find her on screen giving a convincing performance as the all-wise woman with insight into what was going on, and learning that Sarraute can excel at acting as well as at writing.
As one might expect, the saga becomes critical when La Vellini returns to tempt her now-married ex-lover and the film makes clear the power of that temptation. Breillat continues to be a talented an adventurous filmmaker, and delving into such a period work adds a new dimension to her achievements. An IFC Films release.
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