Benedetta

You sometimes need to take a step back and consider how long Paul Verhoeven has been making films. His first short was in 1959 tracking through his work in Holland, then the 80’s and 90’s blockbusters to the later years of fewer films though arguably more interesting. He is enigmatic to say the least.

With Benedetta he takes us back to the late 17th century Pescia, Tuscany, an area ravaged by plague and superstition. Into this arrives Benedetta Carlini (Elena Plonka as her younger self later by Virginie Efira) a novice nun who from the start appears to have gifts (while being escorted to the convent, she stops some bandits by seemingly causing a bird to crap in one’s eye) later she has visions and a stigmata. The Order is shaken and split into believers and non, and those who would take advantage regardless.

The arrival of Bartolomea (Daphne Patika) whose background was much rougher than Bendetta’s (the latter’s life appears to be predestined through a certain amount of luxury and money.) stimulates both sexual relief and political action as she makes a play against the abbess Sister Felicita (Charlotte Rampling) at the same time starting a torrid affair with Bartolomea.

This doesn’t go unnoticed. With the order in confusion Felicita schemes and calls in papal representatives to resolve the matter of the miracles. Which they do with violence and torture.

With the plague raging around the walled town and people forbidden entry we are Prince Prospero territory (Roger Corman’s Masque of the Red Death) with Benedetta announcing that only she can save the walled town from certain death. Prospero was in league with the devil, Benedetta’s benefactor is not quite so clear.

Based on fact and inspired by Judith C. Brown’s Immodest Acts David Birke and Paul Verhoeven’s script is a bit muddled at times, not allowing the viewer to get a proper handle on the goings on or the people, as it switches between reverence, violence and sex. It’s not incoherent just fails to create much sympathy anyone, thought they are actually quite a grim bunch of people. The only one who appears to have any integrity is Christina (Louise Chevillotte) who pays a high price for it.

It does though look beautiful, enhanced by Anne Dudley’s score. On the acting front there could have been a temptation on the part of the actors to exploit the over blown prose, though either through their own restraint or Verhoeven’s direction its all quite solid, even in the most passionate of scenes.

In the end Benedetta tells a story but the film doesn’t break any real ground here when it comes to religious hypocrisy, male power/female subjugation and suppressed desires. The Devils comes to mind if you are looking for the higher ground, though this just as easily drops into nunsploitation and the films of Nigel Wingrove, Jesus Franco amongst many others.