People Of The Night (Press, 21 August 1975)

In a critique of Liliana Cavani's film "The Night Porter," filmmaker and critic Russell Jones shares insights gained from a screening at the Westend Theatre, where the film is presented in a censored version that is 10 minutes shorter than the original. A notable censorship cut involved a scene depicting female dominance, which Cavani describes as the most beautiful in the film. The scene features Lucia, played by Charlotte Rampling, above Max, portrayed by Dirk Bogarde, in a moment of intimacy that was deemed too explicit for the censor’s approval. Jones highlights that the laws governing censorship in New Zealand lead to such omissions, leaving the film to be judged in a less complete form. Set in 1957 Vienna, "The Night Porter" explores the unsettling love affair between an S.S. officer, Max, and one of his former concentration camp prisoners, Lucia. Max, who now works as a night porter at a hotel under an assumed name, frequently engages in disturbing reunions with former comrades who delve into their past guilt through mock trials. Lucia reenters his life in Vienna as the spouse of a conductor, leading to a rekindling of their complicated relationship. The film employs flashbacks to unravel their shared history during the war, hinting at themes of sadomasochism juxtaposed with existing emotional complexities. Jones praises Bogarde's performance as Max, who, despite his dark past, displays tender affection for Lucia, compounded by bouts of violence. Lucia remains ambiguous, often depicted in a passive light. The narrative unfolds dreamlike and slowly, capturing the eerie atmosphere of the hotel, which serves as a refuge from the outside world. The film is described as moving, filled with moments of subdued horror and tenderness, despite the heavy themes it grapples with. It aims to delve into the characters' tortured lives amid shared trauma, although Jones notes that the film's impact may be diminished due to the cuts enforced by censorship. Although the film operates within a framework of sadomasochism, Jones finds it both tragic and beautiful, leaving a lingering sadness upon its conclusion. He reflects on Cavani's perception that the last scene, which encapsulates their deliverance from torment, is notably absent in the version shown. Ultimately, Jones advocates for the uncensored release of "The Night Porter," hoping that the passage of a censorship bill could allow for a complete presentation that gives "mature adults" the opportunity to engage with Cavani's entire work.

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