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It must be a daunting task when a filmmaker attempts to adapt a novel that has been deemed “unfilmable.” Such is the challenge Tom Tykwer (the audacious “Run, Lola, Run”) accepted when he decided to film “Perfume: The Story of a Murderer,” the wildly popular cult novel by Patrick Suskind first printed in the US in 1986. Intrinsic to the success of telling the tale of “Perfume” is to convey a palpable sense of “smell” and its intoxicating powers. While a book may do this with pages and pages of prose, a film does not have this descriptive luxury–hence, it must attempt some sort of visual shorthand. I’m pleased to say that Tykwer was up to the task. With vivid art direction, stunning visuals, and bold editing choices–you feel, almost, as if you can smell this peculiar tale. While this may sound like dubious praise, it is actually the highest compliment.
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Set in 18th century France, “Perfume” relates the tragic tale of Jean-Baptiste Grenouille (Ben Whishaw). Born and almost killed in a fish market, raised in an orphanage, put into manual (and often dangerous) service at a young age, Jean-Baptiste is a disaffected and disconnected youth. Having no social skills and lacking any kind of normal emotional processes, the one thing that differentiates Jean-Baptiste is his keen sense of smell. It seems to be the only thing that connects him to the world he lives in. A chance visit to the city brings him to a perfume shop/manufacturer. Captivated by this world that revolves around the olfactory senses, Jean-Baptiste aggressively pursues a position with the proprietor (Dustin Hoffman). After achieving some success and freedom, he becomes obsessed with procuring the perfect scent–one that he once smelled in the “essence” of a beautiful young woman. Jean-Baptiste’s obsessive bent soon leads to murder (no spoiler here, it is the title) as he seeks to extract this intoxicating smell from his victims. It’s as if creating this one perfect scent will somehow humanize him–but to attempt it, he becomes even more monstrous.
In the opening minutes of “Perfume,” I was absolutely blown away. The visual impact of the early scenes is astonishing and unique. The tale, however, does settle down into a more routine and more familiar pattern. But while it doesn’t maintain the frenetic and captivating pace, it is never less than intriguing and certainly beautiful to view. Technically, the film is awesome. I’ve already mentioned art direction and editing, but scoring, cinematography, and costuming are all top notch. Jean-Baptiste, who is really in every scene, can be a challenging central character–Whishaw plays him fairly vacantly. It is a one note performance, but largely because that’s what the story calls for–a certain emotional flatness. Therefore, I thought it was effective–others might find it somewhat empty.
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I suspect many will absolutely loathe “Perfume,” however, for I have yet to speak about the ending. The ending is absolutely outrageous, and I suspect that it will polarize audiences into “love it/hate it” camps. It’s so over-the-top, so unlike anything you might foresee, and so unlike anything you’ve ever witnessed in a film before. Yet, for me, these excesses worked and fit well with the tone of this lurid little tale. Love it or hate it, it’s a bold choice–and one you’re not likely to forget. So I am recommending “Perfume” for those that like something different–this is not standard Hollywood fare, and I mean that in a good way. KGHarris, 02/07.
If you’re looking for something unusual, unconventional and unpredictable, “Perfume” is your film. I am not saying this will give a pleasant smell to you. Probably some people would be attracted to the complexity of the strange world where olfactory perception means everything. Or some would loath the film’s story and main character itself, especially the conclusion. Whatever you may find it, Tom Tykwer’s “Perfume” remains intriguing throughout as allegorical tale, dark comedy or serial killer suspense. Pick your choice.
With John Hurt as narrator with slightly mocking tone, the eventful life story of Jean-Baptiste Grenouille is introduced, and from the very first moment you realize “Perfume” is no ordinary film. The film successfully conveys how Paris in the 18th century (at least one certain district) smelled really bad, with too realistic scene of its fish market, which is followed by the birth of Jean-Baptiste. His life is destined to be a different one, and the first chapter fully convinces us of his fate.
Ben Whishaw plays adult Jean-Baptiste Grenouille, and his wonderful acting as the (anti-)hero virtually carries the entire film to the last. Typical rags-to-riches drama is given a twist when other characters step in his life. First Jean-Baptiste is apprenticed to Giuseppe Baldini, second-rate perfumer who lost his skills. Dustin Hoffman’s fake Italian accent may annoy you, but wait for what happens. Jean-Baptiste creates a “hit” perfume with his superb olfactory sense, making Baldini a rich person, and then … see it for yourself. The story is not definitely Charles Dickens.
Beautiful Rachel Hurd-Wood and Alan Rickman are both memorable as aristocratic father and his only daughter. Tom Tykwer relies much on their acting talent to create the credible relations between them, which is I think still underwritten and not interesting enough. His skills as director are more effective in presenting Jean-Baptiste who can create the perfect scent in the most unique and terrifying fashion.
As to its conclusion – don’t worry, this is spoiler-free – you will find it either fascinating or just awful. But maybe we shouldn’t take the story too seriously for “grenouille” also means “frog” in French. “Perfume” defies easy explanations like real perfumes you smell every day. “Perfume” has that inexplicable quality that makes itself all the more attractive to us.
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