When the Wikipedia entry namechecks “Nazisploitation” in its write-up, you expect to hate a film (or you expect to love it; to each their own). The Night Porter is certainly troubling — dealing with the sado-masochistic relationship between a former Nazi officer and a young woman he had abused during the war — but it’s clearly meant to be. It also treads a lot more delicately than that inelegant portmanteau word I started with. It’s the late-1950s, and Dirk Bogarde’s Max is working as a porter at a hotel and expecting to be called to trial for his wartime activities any day. There’s a circle of acquaintances and lawyers who are helping him to avoid the worst charges, and there’s a dark sense that maybe this is how it was in the aftermath of World War II for the disgraced Nazi officers. When Charlotte Rampling’s Lucia arrives at his hotel, they make eye contact and immediately you get the sense of some dark past, which is brought out through flashbacks. It’s a nasty film but not one that wallows in the nastiness; its characters are compromised, but perhaps not as much as you feel they should be; and there’s an uneasy way it works towards a resolution — the only resolution perhaps that the film could have, realistically.
FILM REVIEW: Criterion Collection
Director/Writer Liliana Cavani | Cinematographer Alfio Contini | Starring Dirk Bogarde, Charlotte Rampling | Length 118 minutes || Seen at a friend’s home (DVD), London, Sunday 25 October 2015