Femina ridens--Scenes that I Love

There's a scene in Paul Schrader's remake of Cat People (released in '82) that I consider one of my top sexiest scenes. To me, it was all in the presentation and the power of true sensuality. Nastassja Kinski is ready to forgo it all--a curse that would turn her into a panther and threaten lives, including perhaps her lover's--so she could bed with John Heard and embrace the desire her character felt so strongly. Articles of clothing up the stairs, like little bread crumbs leading the way, allow Heard to follow his path to a nice surprise. There's a scene later in the film where the two truly take all the necessary precautions to ensure their sexual encounter would not be compromised.

I mention this because I have had long, interesting talks with an older friend who is frank about sex (a Mohawk from Canada, with liberal views that contrast the Bible Belt I live), with a conversation about "who has control" in relationships. Primarily man and woman relationships is what we discuss, although she admits to perhaps a few women she would bed if the moment did arise (me, nope, no interest in men whatsoever; in fact, I find the male form repulsive). I freely believe a woman (in most cases) holds the power. In Femina ridens there's this sadist named Dr. Sayer (Philippe Leroy) that kidnaps a beautiful woman, Maria (Dagmar Lassander). Maria seems to be his "pet project", set to be Sayer's "conditioned sex slave". What I always liked about this movie was how it shows that while he seemed to have control (at first), the tables turn and Maria becomes the one wielding the power. 

This isn't really about the movie (although, a review on the blog is certain to come at some point or another) as much as it is about a particular scene I find very much an all-time favorite. It is mainly because of Lassander. She seems to be covering her "naughty bits" with a "tissue wardrobe". She provocatively jives to a groovy beat as Sayer looks on, completely a fly in her web, and she knows it. This is still at that point where he still uses his physical strength and structural containment as obstacles that entrap Maria, but he's becoming the fly, although Sayer thinks he's the spider. During this key scene, I understand how she uses her "attributes" to gradually gain an edge that would eventually influence away the power he once felt he had. 

I watch this scene, my eyes and libido fixed on her every move (or whatever is on screen during the dance), the way her whole body, head to toe, glides sensually to the beat (the song seems meant specifically for Dagmar; that synchronicity is amazing), there's an understanding as to how she is able to secure his desire, that attention, his will, even if he soon uses his strength to once again "subdue her". He shows her a mannequin locked in a leather gimp suit, body contorted with legs and arms pinned from behind, Sayer informing her how painful such a device would be, certain to elicit eventual death through the horror of its agony. Still, although he tries to seize upon her as the shift in power changes, the fix is in, and Dagmar has started to enchant.

By film's end, he has surrendered his will, she's allowed him to believe she's his, and then in that key opportunistic moment, takes advantage. It is righteous revenge because he fucked with the wrong woman. I look at how putty I would be in such a situation. Her gyrating away, that tongue sliding across her teeth, the naked stomach and "bandaged" bum effortlessly grooving to the music's erotic anthem devoted to her seductive movement; all of it was performance art. Sayer was a goner. I was, too.