Fleur d`orange Snow-white brides will be snatched still virgins from the hands of their earthly husbands to become prey to a knife and flame.
An old, tattered one-day bar and people eager to kill another evening in the company of their kind. Near the bar is the main character of a tragedy (or comedy), which will play out in a few hours anyway. Sam Spee... someone named Walter has already been commissioned to deliver an envelope for the Earl of Corinth. Exactly in a minute a mysterious stranger will come to him and invite him to a dance. In a few hours he will meet her again, let her leave the world to visit him again. Oh, yeah. I almost forgot to mention that the girl is the wife of the aforementioned count, who died 6 years ago. There is nothing that could prevent another miniature revolution. However, all this is not even a spoiler, but a peculiar, somewhat familiar gateway to the world of Rob-Griller cinema. A small, crazy comet that devours itself time and time again with every spectator.
“The Beautiful Captive” is an outlandish, phantasmagoric fusion of neo-noir and surrealism, which will cause the passing person to clearly associate with the already experienced journey along Mulholland Drive. The prevalence of form and lightning-fast pulling out of the sleeve of another mystery, which was created not to promote the story, but for mockery, a kind of game with onlookers. Habitual patterns, characteristic of any noir, live in the frame for no more than a few minutes, since they are not the main tool for controlling the plot rails. Pencil sketches of familiar schemes are carelessly glued together; rethinking, playing with the shape of the language of cinema to mean something more, let this myriad of images remain unknown to many monologues that can be listened to countless times without any understanding of the narrator. The monologue is not as exciting as the search for lost paradise with Catherine Jourdan, but the story of the “almost” cool detective captures immediately and does not let go until the very arrival of the credits.
Alain Rob-Grier will gut the noir, connecting several storylines, along the way indicating only the general direction for his silent hero. Fatal blonde who lost her name and a stranger in Humphrey Bogart's coat. Two dots, between which are cozy conspiracies, secret societies and the search for himself. Another procession of the theater of the absurd and a chaotic heap of all sorts of allusions to their own, earlier creativity. However, this time there were no canvases consisting of egg yolks and blood. And torture against the heroines was criminally small. The rules of the game have not changed, although the degree of all this has slightly decreased since the time of Eden or Marienbad. Another beautiful girl lost in reality, who from the very beginning is destined to play the role of a victim. Walter's mistress in a tight leather suit and forced investigation into the death of a stranger who managed to say goodbye to this world twice. A dream interrupted by the production of a canvas by René Magritte. A mystery? Or, most likely, a fun game that has no clearly marked beginning and end. Cool detective died. It remains only to look at the skill with which the director dances on his bones, simultaneously creating something original.