Based on a story by Sheridan le Fanu, Sleep is about English aristocrat, Robert (Brendan Price), who
longs to visit Post-Revolution Paris to gamble, to drink, and to consort with
various continental women. His father
will not allow him to do so and arranges for him to be married. However, fortuitously for Robert, he dies
before his wishes are fulfilled. It’s
off to France with his manservant, Sean (Niall Toibin). En route to Paris, Robert’s coach is almost
driven off the road by a sinister-looking coach, replete with the crest of a
Dragon. Inside, Robert catches a glimpse
of a beautiful woman. Robert’s coach
gives chase, and they find the sinister-looking coach at an inn outside
Paris. While dining, Robert meets the Marquis
(Patrick Magee) who offers to accompany Robert to Paris and introduce him into
society. Colonel Gaillard (Per
Oscarsson) arrives at the inn with his guard and he threatens the Count (Curd
Jürgens) and his wife, Countess Elga (Marilù Tolo). Robert steps in and subdues the Colonel. The beautiful young woman, whom Robert spied
within the sinister-looking coach, is the Countess. Robert is smitten and follows the Countess
(with the Marquis) to Paris that very evening.
A young chambermaid is murdered that evening with her throat torn
out. Colonel Gaillard seems suspicious
but unsurprised and follows onto Paris…
Sleep is set
during a very interesting historical period, the rise of the Enlightenment and
the end of Superstition. It is within
these two schools where the filmmakers, screenwriters Calvin and Yvonne Floyd
with direction by Calvin, frame their narrative. One of the most interesting questions to be
posed within such a narrative is, “Could one who is so ‘enlightened’ exploit
the superstitions of those around him for his own gain?” The drama which unfolds in Sleep gives an answer to this question.
During my first viewing of Sleep, I brought my own memories of le Fanu cinema and saw them in
the production. Tolo, who plays the
Countess, is eerily evocative of Ingrid Pitt who played in the excellent le
Fanu adaptation, The Vampire Lovers
(1970). Both actresses were about the
same age in their respective roles. Sleep also has direct allusions with
imagery taken from Carl Theodor Dryer’s masterpiece, Vampyr (1932). During a
second viewing, I was able to put those memories aside and see how cleverly
crafted the narrative is. Sleep is really told from the point of
view of Robert, and all the characters appear to the viewer as they would to
Robert—The Countess is beautiful and seductive; the Marquis is a kind
confidant; and the Colonel seems overzealous and crazy. Since Sleep
is a historical piece, the costumes and the apparent authentic locations also
contribute to the narrative’s seductive beauty.
About midway through the film, when Robert attends a masquerade ball
hosted by the Count and the Countess, it becomes obvious that Robert is being
set-up. As to what kind of ending Robert
is being primed, this remains a mystery.
Patrick Magee and Per Oscarsson are two amazing actors who
give easily the best performances in Sleep. During the final act, when both of their
characterizations have a full turn is when both shine. I especially love how their two story arcs
are concluded, with especial note to Oscarsson’s character: his character’s ending is cryptic, and I use
that word with more than one meaning. The Sleep of Death is an adult drama,
wrapped tightly in mystery, for the curious to seek out.
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