The Neon Demon

26 Jun

The Neon Demon ­– directed by Nicholas Winding Refn. Drama. 117 minutes Color 2106.


The Story: A naïve adolescent girl on her way to be the world’s top fashion model.


The difference between the A Star Is Born with Janet Gaynor and Judy Garland is that the Garland version shows the talent involved, the Gaynor does not. Gaynor just stands there.

Likewise, the talent involved in the Neon Demon is that the young woman on her way to superstardom just stands there, because all she is is particularly pretty. So she stands there as a medium with which others’ talents paint. They paint her to film her. They dress her to film her. They pose her up as an artist picks up a paintbrush and, with the ruthlessness proper to paintbrush selection, makes something with her.

Elle Fanning’s character, Jesse, is the perfect instrument for the artistry of others. She is entirely without artistic expression of her own as a model – except irony in her slight smile as to how others use themselves using her. And in the power she holds just standing there.

The predominant color of the director’s pallet, the red of dried blood, along with a ruthless camera style, well-suited to the ruthless business of modeling, entertain and hold us almost as a story in itself.

But the story itself decays before our eyes as it enters the realm of allegory.

Allegory is a delicate mode. It is a narrative of internal drama wholly. Its external characters and action are the machinery inside the human: psychological contraptions such as temptation, loyalty, veracity.

When Una in Spencer’s The Fairy Queen enters on a white mule, veiled, and led by a dwarf, we are actually in the presence of human essence pure inside any human. When Duessa appears looking exactly like Una, we are actually in the presence of an imposture of human essence pure, which we lead ourselves to believe is the real McCoy. Looks tasty. Is poison. Lies that lie like truth.

When this sixteen year old, wearing a dress of fantastic beauty, is chosen to climax a major fashion show, she is turned from a cherubim into a demon before our eyes. Wonderful.

But ever afterwards her hair formerly something painted by Botticelli becomes ordinary cover-girl hair. And the story is lost.

The story is the demonstration that fashion modeling is not done to adorn and present the female body to men – for romance or marriage or love or trophy. No, it is clear and it is also true that high fashion is created only to crush other women with it.

So this story is badly undermined by the entry into it of a lesbian character.

In fact, the desire of women to crush other women with the battle-axe of high fashion is one with no sexual content of any kind. In humans, admiration is followed by love is followed by a desire to be the desired one, is followed by hatred, and it all peters out in the exhaustion which the obsession to hatred leaves one with. No sex is involved.

Particularly as in this case, evil lesbianism. Lesbianism which kills what it can’t have or be or conquer. And if lesbianism, why evil? A wrong allegory move anhow. Human envy does the job. The other models are sufficient. Sex is miscast.

So the story collapses with its own false version of itself. Until then and even after it is watchable. Arresting. And special.

Keanu Reeves plays a seedy motel owner well. And the magnificent Christina Hendricks grants us her executive confidence as The Great Model Agent Of The World.

How beautiful Christina Hendricks is. How interesting. What a subtle and distinguished actress. How noble in bearing. And what is the story to be filmed to encompass all this more valuable than anything in this film?

So many gifted actresses among us! So many actresses of rich character and talent! Did we really need this story of modeling? What is high fashion, after all, but gold lamé trash?

No elegant woman ever got her elegance out of a fashion magazine.


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