If Valentine’s Day traditionally celebrates beautiful love stories, these can sometimes turn into obsession, or even become downright deadly … When love goes too far, in five examples.
An indestructible ritual, Valentine’s Day is obviously the feast of lovers and love stories full of good vibes. In this logic, we no longer count the works very Cheesy around this theme. But when love becomes thwarted, turns into obsession, madness, capable of going as far as murder or the most extreme sordid, obviously we no longer play in the same category at all … a bit of the counter-programming card, here are five works, very different moreover, where love goes a little too far. And that’s an understatement …
“Paul Sheldon wrote for a living. Now he writes to stay alive” You might remember that awesome tagline from Rob Reiner’s fabulous movie, Misery, one of the best adaptations of prolific Stephen King, which put an absolutely terrifying Kathy Bates into orbit in the guise of ex-nurse Annie Wilkes. A masterful composition which has earned the actress, rightly, the Oscar for Best Actress. If Annie the psychopath admires the creative genius of Paul Sheldon whom she collects (formidable James Caan) after her accident, she especially devotes a crazy unconditional love to her romantic heroine born of her imagination, the beautiful Misery. It is even his reason for living. And the idea that Paul Sheldon can draw a final line on the life of his favorite heroine is simply unbearable …
When she finds out that her favorite writer has tried to escape her home instead of obediently continuing to write, she gives him a pretty drastic shock treatment. And really, but then really, mean. We hurt for him. “Shhhh darling, trust me! It’s for the best!” Before the torturer lets the martyred one “God, i Love you!”
The Prey (1971)
“One man … seven women … in a strange house!” could one read on the American poster of the Preies of Don Siegel. Next to this tagline written in large print, the face of Clint Eastwood, with a hand – his obviously – holding a gun. This poster made American viewers think that Eastwood was the star of a new western, taking up one of his usual roles: a logically triumphant hero, a fine trigger, and chewing his cigarillos, as in the days of the roles that made him famous in Sergio Leone.
This poster was however particularly misleading, because The preys is anything but a western in its most classic, Hollywood take on the term. A masterpiece at once poisonous, morbid and disturbing, The preys is above all an oppressive closed-door tinged with terror; perhaps the black diamond of the filmography of Clint Eastwood, who here undoubtedly embodies the most perverse, calculating and manipulative character of his entire career.
“Women are capable of deception, swindling, murder, anything. Behind their mask of innocence hides as much villainy as you might find in a member of the Mafia.” Don Siegel let go of the story of his film. For the filmmaker, sex, violence and female revenge are at the heart of the film, with a common thread “the desire of women to castrate men”, at least symbolically, and embodied by a chilling scene of amputation that arouses terror. Devoured each other by jealousy, to the one who will attract the exclusive favors of a very unpleasant Clint Eastwood, they nevertheless manage in a burst of lucidity to make common cause to lose their guest … 50 years after his release , the strength of Prey is still intact.
Attention, work (ultra) deviant, sensitive soul abstain … The oldest among you may remember, at the time of video clubs, the sulphurous cover of the film Nekromantik, signed by the German director Jörg Buttgereit? For the record, it was a corpse that had come back to life, putting one of its hands on the chest of a woman, who seemed to be in full love ecstasy. A scent of forbidden that will float even more with a sequel released in 1991, just as deviant and trash.
In this film degreased to the bone (if we dare say …) of 1h15 credits included, which was also banned in several countries including Great Britain, we follow the story a man named Rob (Daktari Lorenz), who works for a body collection company. A perfect situation which allows him to steal corpses that he brings home, in order to indulge in erotic acts on them, with the complicity of his fiancée (Beatrice Manowski), a necrophile like him. Until the day his boss realizes that something is wrong. For once, the expression “love to death” is not usurped to define Nekromantik…
The Honeymoon Killers (1970)
Martha Beck is just a harmless nurse with generous forms. At least until the day she responds to the matrimonial announcement of “Lonely Hearts” by Raymond Fernandez, gigolo and marriage con artist. Now inseparable, bound by the same subversive passion, they scour the United States, trap widows and single women in order to steal them first. Then brutally murder them …
Inspired by an authentic atrocious news item whose star couple will be executed at the famous Sing Sing prison on March 8, 1951, the film was originally to be directed by Martin Scorsese, who was ejected by producer Donald Volkman at the end than a week because he only shot in sequence shots.
Cult work appearing among the favorite films of François Truffaut and Michelangelo Antonioni, The Honeymoon Killers is a bit the anti Bonnie and Clyde released two years earlier. Shot in a black and white documentary style, this is the only achievement by Leonard Kastle. Far from film sets, the latter was above all renowned as a conductor and author of operas. He also had a great passion for the work of Gustav Mahler, and used extracts from his work in the film to feed the soundtrack.
Although totally inexperienced, “I had the whole movie in mind” he said in an interview given in 2003; “and most of the work was the rehearsals of the scenes. We systematically rehearsed the scenes the day before the shooting, and also the same day. Shirley Stoler was extremely self-conscious about her weight, to the point that I kept on tell her: listen, you’re not here because you’re fat, but because you’re a great actress! “
Fatal Bond (1988)
Excellent film by Adrian Lyne, Fatal Liaison features the passing loves of Dan Gallagher, New York lawyer (Michael Douglas), happy husband and father, with a young single editor, Alex Forrest (very impressive Glenn Close), leading to an absolutely chilling passionate drama. Or when love becomes obsessive to murderous madness …
For the anecdote, at the test screening of the film, the audience was apparently horrified by the original ending desired by Adrian Lyne. Dan Gallagher is arrested at his home for murder, while the confessions of Alex who commits suicide can be heard in voiceover, placing the blame on Dan.
Faced with the audience’s reaction, the director changed the ending, becoming the one we know: after a clash in a bathroom where Dan tries to drown Alex in the bathtub, she ends up being shot by a bullet fired from the bathtub. wife of Dan. Glenn Close hated the ending, and fought hard to get the producers to reverse their decision to change it. According to her, the psychological instability of his character would have pushed him more to self-destruct and, in fine, to commit suicide. After three weeks of struggle, the actress gave up. Note also that this original ending was used in the version of the film exploited in Japan.
Below, the end we know …