Film Review: The Corruption (La Bonne, 1986)

Film Review: The Corruption (La Bonne, 1986) | Ecency

(source: tmdb.org)

Italian film makers had a knack for elevating exploitation content by displaying it in the context of their nation’s troubled and complicated history. One of such examples can be found in La Bonne (“The Maid”), 1986 erotic drama directed by Salvatore Samperi, distributed internationally under title The Corruption.

The plot is set in 1956. Protagonist, played by Florence Guérin, is Anna Mattei, beautiful wife of Giacomo Menegatti (played by Cyrus Elias), lawyer in Italian city of Vicenza. Her husband is member of Communist Party and heavily involved in local politics, thus leaving Anna neglected and forced to take care of his sick and infirm mother (played by Ida Eccher). The couple has recently hired help, a country girl named Angela (played by Kathrine Michelsen). Anna quickly discovers that the maid is much more sexually experienced than her and willing to flaunt her sexuality. She gradually befriends her and gets under her influence, gradually losing inhibitions which lead her to an affair with local pharmacist (played by Silvio Anselmo). Soon, Angela begins to play mind games and manipulate Anna, which would ultimately threaten her marriage.

The Corruption, which actually had decent results at Italian box office, is in its essence what used to be called “softcore pornography”. Samperi, best known for Malizia, 1973 classic of the commedia sexy all’italiana genre that made Laura Antonelli into major star, is here taking more serious approach, but he features not one but two actresses distinguished by their gorgeous looks. They nevertheless look very different – dark-haired French actress Guérin is interesting as ingenue while Danish actress Kathrine Michelsen is solid as manipulative femme fatale. Both women are more than willing to disrobe for the cameras and engage in some steamy scenes, including those that feature lesbian activity. Samperi directs those scenes well, except in couple of overly “artsy” segments featuring Benito Artesi as Angela’s young and disposable lover. The more interesting segment of the film is, however, period background and certain plot motives that would, sadly, be spotted only by viewers familiar with history of Italian First Republic. Character of Giacomo is, despite being a Communist, wealthy lawyer whose enjoys bourgeoisie way of life that includes having a maid, and despite ideological differences with anti-Communist parties, enhanced by Cold War, finds way to make deals with their members. Anna’s sexual “corruption” is thus matched by political corruption of Giacomo and his party, which decides to support their Soviet sponsors in their brutal crushing of 1956 Hungarian uprising. Political discussions in the film also suggest that the corruption is much broader, and that the masses, including working class, have begun to enjoy benefits of post-WW2 economic boom and lost any incentive to fight for their rights. Those details, however, aren’t fully explored and Samperi firmly anchors the film in the realm of exploitation cinema. It is ultimately the music score by Riz Ortolani that elevates the film and make it look grander than it actually is.

RATING: 5/10 (++)