Rosa (Marianne Basler) is young, beautiful, and full of what the French call the joy of life. She’s also a sex worker, plying her trade in the Les Halles section of Paris. The film opens with a man asking her how much she costs. Her reply (500 francs and she doesn’t stay overnight) causes him to walk away. But when another john picks her up, the first man comes back. They nearly come to blows before she suggests a three-way, which makes everyone happy. Throughout the film, we’ll see her enjoying her work, happily filling even the oddest requests.
Buy Rosa la rose, fille publique Blu-rayOne man will bring a roast duck in his suitcase and ask her to role-play as his wife, only to have her spank him when he’s been naughty. Another doesn’t want her to touch him at all, but he’ll watch while she masturbates. Another man waits for her to finish with one john so he can have sex with her before she washes herself. Director Paul Vecchiali presents all of this as just another job, like breadmaking or being a tanner – something you can take pride in, but nothing fancy or inspirational.
His camera moves and flows all over the scenes. Rosa is radiant, often wearing a bright blue dress with red undergarments. She simply glows. Early in the film, her pimp, Gilbert (Jean Sorel), throws her a birthday party. There, she sings and dances with her coworkers, including a couple of older sex workers (Evelyne Buyle and Catherine Lachens) known only by their ages, who act as a sort of Greek chorus, always commenting on her comings and goings. They perform for their pimps, protectors, and long-term clients. When they finally stop dancing, Rosa sits at the center of the table. Vecchiali films it like The Last Supper with Rosa in the Jesus position.
It is a fascinating scene, as this is her life – performing for these people who have become her family. It is full of joy, but there is also a sadness slipping in just off to the sides. It reminded me a bit of that moment in Goodfellas when Karen, the new wife of mobster Henry Hill, suddenly realizes the only people she knows are in the mafia and their wives.
It is also there that she first spies Julien (Pierre Cosso), a painter who has just wandered into this scene. They are both struck by that lightning bolt of love. He’ll later come to her as a customer, only to realize the transactional nature of it feels completely wrong for both of them. He is more than just another customer; she is more than another woman he pays for sex. It is that love that will become the central conflict of the story.
Gilbert is a caring pimp. He is sweet on her and buys her gifts. We see none of the beatings and threats you see between pimp and prostitute in other films. But she also makes him a lot of money. When she hypothetically asks him if she could ever leave, he at first says she’s always free to go. But then he notes he needs her for another five years, then he can retire. I’m calling this a conflict, but it is very much an emotional one. This is not a film with an explosively violent climax. It is a small film. A day in the life of a sex worker. It is a beautiful film filled with meaningful shots and camera movements, and lovingly created images that will stick with you.
Radiance Films presents Rosa la rose, fille publique with a new 2K restoration approved by the director. It looks absolutely stunning. Vecchiali uses bold, primary colors to great effect. Extras include archival interviews with Vecciali and actors Marianne Basler and Jean Sorel. Plus, a new appreciation of the film and its director by David Jenkins. The full-color booklet includes a couple of essays on the film
Rosa la rose, fille publique has mostly been forgotten by today’s public, but I hope this release allows it to find a new audience. It deserves more appreciation.
