GAY PEOPLE'S CHRONICLE

MARCH 25, 1994

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ENTERTAINMENT

Fury and rage are wasted energy

Savage Nights

Cedar Lee Theater

Reviewed by Charlton Harper

Savage Nights should come with a disclaimer that warns "Emotional wrench ahead: enter at own risk."

If you've read or heard the hype about this film, you may think you know what you're getting. It's a film by French writer and director Cyril Collard that follows the downward spiral of Jean (played by Collard himself), a young bisexual filmmaker who lives in Paris, circa 1986. Key factor here: Jean is HIV positive. One problem though, he fails to pass on this necessary information before having sex with his new partners Laura (Romane Bohringer) and Samy (Carlos Lopez). End of plot.

What's going to push this movie most are the real life circumstances that surround the film. Collard was one of the first people in France to publicly admit that he was HIV positive. His later death from AIDS complications, in March 1993, just three days before Savage Nights won several Cesar awards (the French Oscar), will also help fuel interest in the film.

Though Jean is HIV positive, Collard insisted that the film was not solely about AIDS. Instead, he focused on the stormy romantic triangle between Jean, Laura and Samy, and Jean's struggle to maintain an ordinary life.

But "ordinary" for Jean means thrillseeking risk taking, no matter the cost in human emotions. And that's the problem with the film. Once past the nasty, but

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Cyril Collard gives Romane Bohringer a stuffed dog as part of a private joke in Savage Nights.

probably all too real fact (given the year for the film's setting) that Jean knowingly sleeps with Laura without telling her about his condition, the shock wears off and the film is left to stand on its own merits. Which aren't much.

Watching Savage Nights is more like an afternoon in domestic court. It's all pure raw emotions, just hanging out there for the voyeur-filmgoer to pore over. All the essentials for a daytime soap are here: handsome leading man who enjoys the lovemaking pleasures of both sexes and anonymous tricking beneath bridges along the Seine, but can't commit to anyone; brooding dangerous street-boy who's short on words; and beautiful 17-year-old girl who wants to experience a complete love, but winds up with a bad case of obsessive love. Makes the imagination water, huh?

Factor in a heavy dose of screaming and histrionics and you could have anyone's

home at holiday time. Though the acting convinces, it all seems like "sound and fury signifying nothing." Even the potential for real drama, namely AIDS and Jean's condition, deteriorates into a secondary sub plot. The rage and blinding pace that fill the film are given without apology, which is fine. Anger with a message is great. Focused anger without a message can be even greater. Think back to Gregg Araki's The Living End for a look at the power of undiluted rage in the face of AIDS. But with AIDS so secondary in Jean's life, it's all wasted rage. Like Jean himself, it's a story running on empty.

After reading the quarter-inch thick press kit, I'm still not convinced of the film's higher aims. Savage Nights is not that rarefied, romantic story of one man's search for the meaning of life. It's more like the ordinary story of people who just can't get it together.

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