“Haven’t you observed that love grows when the object of desire escapes us?”
Lady J, a French film set in the 18th century, opens at the vast, beautiful country estate of Madame de La Pommeraye (Cécile de France), a beautiful wealthy widow. She’s elegant, intelligent and very much at ease in her skin. She is courted by a practiced lothario, a man with a terrible reputation as a serial womanizer, Le Marquis des Arcis (Edouard Baer). He’s a classic seducer, smooth, disarming, and disingenuously claiming “I seduce no one, I am always the first to be seduced.” Madame de La Pommeraye has so far managed to keep the Marquis at a distance, mainly by not taking him seriously; she’s determined not to become another of his many discarded women. But he’s persistent, and eventually she succumbs to his charms which he adapts to his prey: in this case he uses the intellectual approach.
While the affair lasts longer than most of his dalliances, soon the marquis grows bored and finds excuses to leave. We can only imagine what this sexually rapacious scalawag is up to, but finally Madame de La Pommeraye, always a woman of calm reason, plays her cards first by pretending that she’s bored with the affair. With obvious relief, the Marquis confesses that he feels exactly the same way too, and so they part, friends.
You really have to laugh at the Marquis when he gives his version of events: how he’s such a victim of love. Well you could laugh if he didn’t careen around Europe looking for women to seduce and ruin.
Since the Marquis and Madame de La Pommeraye always shared an intellectual relationship, she continues to cultivate this friendship, encouraging his confidences and laughing at the silliness of the string of women who believed his promises of love, fidelity and possibly even marriage.
Under the facade of friendship, she stays in the Marquis’ life but claiming she’s striking a blow for all women, Madame de La Pommeraye plots revenge. She employs a woman (Natalia Dontcheva) who was deceived into a false marriage and who has had to resort to prostitution to make a living. In this life she is accompanied by her beautiful, very young daughter (Alice Isaaz). Madame de La employs the mother and daughter team to pose as reclusive, modest, strict religious women and then sets the daughter as bait in front of the marquis. Since this is a man who loves a challenge, (“the Marquis cannot resist what resists him”) he falls into an elaborate trap.
This tale of cold, merciless and carefully plotted revenge is elegantly filmed with a languid pace that belies the storm of passions that simmer beneath those gorgeous 18th century costumes. She’s warned by her loyal friend, Lucienne (Laure Calamy) not to take the revenge too far, but Madame de La Pommeraye, who has been badly wounded, enjoys watching the Marquis squirm and so the little charade continues…
The film’s main argument is that our actions have unpredictable consequences. After watching the film, I wondered why Madame de La Pommeraye tolerated the Marquis in the first place. Did she find his attention flattering? She knew exactly what he was; marriage wasn’t on the table, and the Marquis abandoned his promiscuous life style at least for a while, so were both characters seducers in their own fashion? If you enjoy the philosophical films of Eric Rohmer, then you should enjoy Lady J. Yes it’s about passion and sex and seduction (think Les liaisons Dangereuses), and it’s all elegantly done, scene by scene so that the piece seems to be a play rather than a film with a focus on the philosophical. The plot is based on a story from Jacques the Fatalist.
Directed by Emmanuel Mouret