Roman Polanski's Repulsion

Roman Polanski's Repulsion

Analysis of an aspect of visual form in the film ‘Repulsion’ In the 1964/65 film ‘Repulsion’ by Roman Polanski, the story is about the conflict between reality and fantasy or sanity and insanity inside the main character’s mind – Carol played by Catherine Deneuve. Therefore the narrative technique of symbolism is used to display visually to the film’s audience what happens to Carol’s mind. In this particular instance, the degeneration of Carol’s state of mind is symbolised.

Carol’s state of mind degenerates, or breaks down because of her repulsion of masculinity in a sexual context. Through Carol’s eyes, we see masculinity as being aggressive, obsessive, crude/sexually suggestive, rapacious and sinister, and although these are masculine traits, they are not a full representation of males/masculinity in society. Therefore one can see that Carol has misunderstood and become very wary of men. She is a very pretty woman and the film uses her to display an almost stereotypical femininity – weak/ fragile and delicately featured – ironically, the complete opposite to Carol’s own view of men. And so, overall, the film basically represents male domination and female vulnerability. Also to highlight the difference between Carol’s reactions to men and her reactions to women, the writer has chosen to place her character in a beauty parlour. This is used to represent a pleasant but superficial world against a nasty one – through Carol’s eyes that is.

From the beginning, one can tell that there are going to be elements of surrealism in the film by the style in which the credits are run. These opening credits run generally upwards (I say generally as some of the credits are at angles – but still maintaining an ‘upward-ish’ direction) over an extreme close-up shot of Carol’s face, and also some credits finishing on-screen at her top eyelids whereas some finish by running off-screen. During the film, we see Carol go to work at the beauty parlour. By the camera-man shooting over her shoulder, a personal view of her life and how she sees life around her. If the camera was used as her eyes, it would have made these scenes too subjective and too unsubtle. We can therefore look at the same things as Carol, but for our own sakes, though this does leave a certain ambiguity. For example, when Carol walks to work, she looks at an empty, da...

... middle of paper ...

...late with the rotting rabbit and the cut-throat razor on it. This could symbolise that she is on the ‘razor’s edge’ and that it is rotting her mind away.

It is unclear why Carol has become repulsed by men and sex. It is suggested that it is to do with something or even someone in her past, e.g. she might have been sexually abused by an older person. Maybe that is why she is repulsed by the landlord and in her irrationality, she attacks him. She also regards the photo of her when she was young with happiness. That, along with the bells and the sound of girls running around dubbed over the film at that point, could suggest that she went to a convent school, which are all girls, and therefore makes her feel safe and protected, as the beauty parlour does. Carol’s neurosis of life might be that she see men as sexual objects only, not as real people, and so she is repulsed. Then one can ask, why is she repulsed by this? And the only possible answers are that she might have been abused in her childhood, or something else deep and psychological of a very sexual nature affected her back then. But it is extremely hard to say exactly what, since we are never shown any part of her past.