This Underrated Film from the Director of ‘Run Lola Run’ Is a Technicolor Nightmare
I used to be averse to period pieces, which stems from my youth. My mom sometimes made me sit through Merchant Ivory films as a child, and that was enough to put me off of historical dramas for quite some time. With that said, a well-rounded critic should be able to find merit in any genre. So, a while back, I started pushing myself outside my comfort zone and taking in period pieces inside and outside of the genre space. In doing so, I have broadened my horizons, discovering some features I really love in the process. One such example is a surreal horror period piece that really rocked my world. I’m talking about Tom Tykwer’s Perfume: Story of a Murderer.
The picture, based on Patrick Süskind’s novel of the same name, is best described as a sensory delight. It’s captivating and immersive in a way few features are. Not to mention, Perfume is rife with subtext and commentary that gives the film an added amount of depth. That combined with a rather strong performance from award-winning actor Ben Whishaw in the lead role makes this flick a must-see. Sadly, the film underperformed at the box office upon release in 2006 and has since faded into relative obscurity.
The setup for Perfume: Story of a Murderer is this:
The picture is set in 18th-century France. It follows Jean-Baptiste (Whishaw), an orphan abandoned by his mother at birth. The boy is born with a gift. He has a superhuman sense of smell. Yet he, himself, has no natural odor. The juxtaposition of an extra-refined sense of smell and possessing no natural scent of his own drives Jean-Baptiste to create the most intoxicating scent on earth. In his quest, the protagonist becomes obsessed with the smell of young women, eventually resorting to murder to distill their essence. Jean-Baptiste’s quest bears fruit but ultimately leaves him empty. He finds that nothing can bring him what he wants most in life: true love.
Though the film divided critics upon release, I am a die-hard fan. So was the late, great Roger Ebert, as it turns out. He had a tenuous relationship with horror. However, Ebert occasionally connected with darker genre fare. And this is one of those instances. In fact, he included Perfume: Story of a Murderer on his list of the best films of 2006. Nicely done, sir.
Perfume is a captivating portrait of obsession.
I connect with some of the same elements that Ebert did. I see the film as a fascinating depiction of obsession. Jean-Baptiste’s singular focus on scent is fascinating and well-rendered by Whishaw. He fully becomes the character, shedding his own skin and living in the scentless flesh of the troubled protagonist. Jean-Baptiste is not a particularly likable lead. Yet, his unyielding determination makes him relatable on some level.
Jean-Baptiste’s deep-seated passion for smell also endears him to the viewer. I’ve heard the use of scent in this film described as a metaphor for love. And I agree with that assessment. As Jean-Baptiste is chasing the perfect scent, he’s also looking for acceptance. He is an unfortunate-looking fellow who was abandoned as an infant. From there, he is mistreated by almost everyone he encounters. Jean-Baptiste comes to believe that he can win favor with those around him by appealing to their sense of smell. However, that is ultimately a hollow victory because it’s not Jean-Baptiste that the people love. It’s his creation.
Duality is explored extensively throughout
Another prominent theme within Perfume: Story of a Murderer is duality. One great example of that is the juxtaposition of the beautiful and the ugly. Jean-Baptiste engages in heinous acts of violence in his quest to create something gorgeous. Yet, he remains convinced that the end justifies the means, that beauty comes at a cost.
We also see two extreme ends of the caste system. The haves and the have-nots. The well-to-do are cloaked in beautiful textiles, with the proletariat draped in dirty rags. We see Jean-Baptiste deeply entrenched in the seedy underbelly of the city before he gradually uses his gift to ingratiate himself to the upper echelon.
Perfume: Story of a Murderer is a delight for the senses.
Thematic elements aside, the film functions as an absolute sensory delight. It’s so beautifully rendered that it enraptures the viewer in its lush world of decadence. The hues pop off the screen like a Technicolor nightmare. And the way the characters react to the smells within is so captivating that I almost feel like I can smell what they do. That’s no small feat, considering that smelling a film is currently impossible. Yet, Tykwer understands how to package and present a visually captivating work of cinematic art that pulls the viewer inside. The color grading and cinematography are a delight to behold. We previously saw his prowess with potent visuals via his breakout feature Run Lola Run.
It’s a good thing the picture is so immersive because it’s a lengthy ordeal. Perfume: Story of a Murderer runs roughly 2.5 hours. Despite the hefty runtime, the steadily mounting tension and immersive nature keep me engaged for the long haul. It’s a film that captivates so effectively that one loses all track of time.
All things considered, Perfume: Story of a Murderer is a masterful effort that has yet to truly receive its due. Tom Tykwer delivers a sensory delight that captivates and entertains in equal measure. The film functions as a fascinating meditation on obsession and the quest for love. Not to mention, Ben Whishaw turns in an arresting performance that pulls the audience into the lead character’s world.
If you’re keen to seek the flick out, you have a couple of options. You can find Perfume: Story of a Murderer available on VOD as of the publication of this post. And although it appears to be out of print on physical media, you can still scoop up a copy on eBay for a reasonable price.
Categorized:Editorials
