Favorite movie scenes 96

I saw La Nuit de Varennes (1982) a long time ago, but what I came away with, the central message of the movie to me, was this debate on what it is to be a gentleman. Casanova (played by Marcello Mastroianni) believes chivalry and nobility of thought and action will disappear when the old world he represents is destroyed by the French revolution. In one scene he has a heated argument with a young idealist, who gets angry and is rude to him. Casanova simple removes his hat and says "Thank you, young man, for proving that I am right".

Harvey Keitel, representing the new man who believes in equality, believes that nobility is the merit of the individual alone, and the result of his own choices, not of belonging to a privileged social class. At one point he rescues a woman from being brutally raped (she is played by Hanna Schygulla, one of Fassbinder's favorite leading ladies). She is an aristocrat who believes in the superiority of the upper classes, like it's almost a religious thing. She feels so humiliated that a common man tried to touch her, and that she now owes her thanks to another common man, that she lashes out at her saviour and slaps him. When I as a child saw this scene I was shocked and indignant at her ingratitude. But Harvey merely smiles (just as Casanova had merely removed his hat) as if he understood her reasons and was big enough to forgive her. Like any gentleman, he hadn't done it because he expected something in return -- what could she have to offer? Even her thanks were worthless. He had merely followed the dictates of his conscience.

The movie portrays Casanova in his later years, greatly exaggerating Marcello's age and supposed physical decadence with unflattering clothes, and hideously heavy use of face powder and lipstick. Although we could interpret that as a pathetic attempt of a former lady's man and dandy to stay attractive, we soon realize he has no vanity. He has totally given up on seduction. He keeps up this attire because that is the custom of his class, not because he deludes himself thinking it will keep him sexy, in his own eyes or the world's. This, his intellectual brilliance, and the courage he shows when facing opposition, save the character from becoming pathetic.

The scene I keep going back to in my mind is near the end of the movie. There's this young woman who's been chasing him like an Elvis fan, insisting that they become lovers; and he never takes her up on her offer. I couldn't understand what his problem was. Is it the age difference, or what other people might say? Eff them, am I right? If she is willing, why shouldn't they enjoy each other's company? Has he become so dead inside, so sick and tired of sex, that it's really over for him?

When they say their goodbyes she begs him one last time to reconsider, and he kindly takes his time to explain. He says, "It's the legend that you're in love with; it's the man I used to be that you want, but that man and his era are gone. You don't really want who I am now, you only think you do". Or words to that effect.

I've thought long and hard about these words over the years. I can't help but think he was wrong: one can love, and lust after, an old man just as ardently as a young one, especially if he's as courageous, brilliant, fascinating and unique as Casanova in this movie. But what he says is true of a lot of Elvis fans, for instance, who in his decadent and tragic last years of life worshiped him not for who he was, but for who he used to be. I thought of how pathetic over-the-hill pop stars are when they start dating models young enough to be their daughters; and of how equally pathetic they seem when they date women who, in their prime, they wouldn't have been caught dead with; women who are now happy with the left-overs of a thousand models and groupies.

And now I understand Casanova's real motive was pride. In the prime of his youth and sex appeal he wouldn't have pursued that young lady, she wasn't that interesting. So now that he could no longer have his pick he wouldn't accept her if she threw herself at him. Again, it was a matter of being a gentleman, in all the senses of the word, and the most profound ones too: on a superficial level, it wouldn't be right to allow a young girl to waste herself on him; and it was chivalrous to use the old line, "It's not you, it's me". Like a child, she believes his words and is content. That was kind of him. But above all, being a gentleman meant self-respect, and not cheapening himself. His body might have grown old and decadent but, for old times' sake, he could keep his spirit intact.