Posts Tagged ‘castration’

Grave gunMeir Zarchi was not trying to make a fun, friendly, family movie when he wrote, directed, and produced the 1978 graphic depiction of rape and comeuppance that is  I Spit on Your Grave.  The film is disturbing on several levels, but as one critic says, it’s supposed to be. Clover points out that the gritty realistic extreme approach that Zarchi takes, “reduces the genre to its essence” (115). Grave leaderZarchi does not glorify rape, but instead by dragging out the scene, keeping Camille Keaton naked throughout, and increasing the violence with each successive encounter, he creates extreme unease in those watching.

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Grave dressBeyond the content though, Zarchi used some techniques to play around with the psychological comfort of his audience. Like Roman Polanski in Rosemary’s Baby, Zarchi uses color to subconsciously affect the emotions of the audience. When we (and the men at the gas station) first meet  Jennifer she is wearing a red dress, emphasizing the impurity of the “big city woman” as well as signaling danger. Later after she heals from her attack and before she begins her revenge she is dresses in black, a representation of mourning; mourning her own lost innocence, and since she asks forgiveness for the murders that she is about to commit, mourning the men’s’ deaths as well. Grave blackHer outfit is not only black, but unlike every other outfit she wears, it covers her from head to foot, long sleeves, long pants, and even a scarf to cover her head. This covering of the body can also represents mourning, but since she wears the same outfit as she begins stalking her victims it gives her a kind of sneaky ninja feel as well. Grave whiteFinally, when she begins her murderous run on her attackers, she is wearing white, long, flowing, billowing white as if she is a ghost or a dream. After castrating the leader of the pack, she again dons the same white flowing gown as she listens to opera in order to drown out the screams of a man bleeding to death in her upstairs bathroom, and as she cleans up the blood mess left behind. This scene plays up the dramatic contrast between the red blood and the white tub, tile, and gown, representing, perhaps, the fact that these events have forever stained her life.

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