Film Review: Gwendoline(1984)

In 1968, Jane Fonda’s emergence as a sex symbol and cinematic icon was a seismic shift in Hollywood, propelled by her role in Barbarella, a campy European adventure comedy that blended eroticism with absurdity. Directed by French filmmaker Just Jaeckin, Barbarella was a bold experiment in screen erotica, pushing the boundaries of what cinema could depict. By 1984, Tawny Kitaen, an American actress relatively unknown at the time, might have viewed a similar path with the same ambition. With Fonda’s success as a template, Kitaen’s participation in Gwendoline—a film with almost identical ingredients—was a calculated gamble. The film, a loose adaptation of Sweet Gwendoline comic book series by John Willie, a British artist famed for his bondage-themed illustrations, became a cultural footnote in the 1980s. Yet, while Fonda’s film was a landmark in 1960s cinema, Gwendoline failed to replicate its impact, a failure that underscores the film’s broader shortcomings.

The plot of Gwendoline is set in the interwar period of the Far East, a setting that, while anachronistic, serves as a backdrop for a tale of survival, adventure, and exploitation. The protagonist, Gwendoline (played by Kitaen), arrives in a Chinese port city after escaping a convent, seeking her father, a scientist who vanished while searching for a rare butterfly. Her journeyed as a stowaway, a situation exploited by local gangsters who abduct her. She is rescued by Willard (Brent Huff), an American adventurer who, ironically, is seeking debt from the same gangsters. Willard’s resourcefulness earns Gwendoline’s attention, leading her to hire him to escort her and her loyal maid, Beth (Zabou), on an expedition into the uncharted territory of Yik Yak. Their journey, fraught with peril through rivers, jungles, and deserts, culminates in the discovery of a lost city ruled by an evil Queen (Bernadette Lafont). This matriarchal society, where men serve only for procreation and are immediately killed after providing such services, becomes setting of central conflict. Gwendoline’s determination to save Willard, even if it means fighting against the city’s amazon warriors, is the film’s emotional core.

Just Jaeckin, who had gained fame in the 1970s with films like Emmanuelle and The Story of O, had set standards for “soft” erotica in world cinema. However, Gwendoline diverges from this template. While the film contains nudity, it does not prioritize sexual content in the first two-thirds of its runtime, a decision that disappoints those expecting the same level of eroticism as Jaeckin’s earlier works. Instead, the film leans into a campy, irreverent parody of Indiana Jones, blending humor and romantic tension between Gwendoline and Willard. The film’s graphic violence, however, often overshadows its comedic elements, creating a disjointed narrative. Notable moments include a scene where veteran character actor Vernon Dobtcheff plays Shirko, Willard’s associate, who delivers crucial information while being orally serviced by a nude prostitute. This absurdity, while amusing, is not the film’s strongest feature.

The film’s focus on erotica shifts in the latter third, as the trio arrives in the lost city. Here, the formulaic villainy of the Queen and the renegade physicist D’Arcy is overshadowed by a cast of female models in skimpy BDSM-like leather costumes. This segment includes scene that epitomizes the film’s campy absurdity: Huff’s character attempts to pass as a woman in skimpy outfit despite his poorly hidden anatomy details and five o'clock shadow, a moment that is both ridiculous and oddly funny. However, the film’s exploitative content—such as the Queen’s subjects serving as “horses” in chariot races or participating in gladiatorial combat—distracts from its narrative. The film’s reliance on these scenes, while visually striking, feels more like a spectacle than a meaningful exploration of its themes.

Tawny Kitaen and Zabou, the two leads, are serviceable in their roles, though neither leaves a memorable impression. Kitaen, who disrobes in the film, is more effective in her role than Zabou, but both performances are overshadowed by Huff’s portrayal of Willard. Huff, who would later build a career in 1980s B-movies, delivers a parodic, macho embodiment of the protagonist. His chemistry with Kitaen is passable, but his performance, like Kitaen’s, is not the film’s standout feature.

Gwendoline failed to become a box office success, a failure that contrasts with Kitaen’s later career. She would later pair with Tom Hanks in Bachelor Party, a film that propelled her to greater recognition. However, her most enduring role remains in Whitesnake music videos, where her presence became a cultural icon. The film’s failure to connect with audiences is partly due to its competition with more explicit content available at home video, a challenge that many 1980s films faced.

Just Jaeckin, after Gwendoline, redirected his career toward photography, a decision that reflects his growing disillusionment with filmmaking. His departure from cinema is a testament to the film’s mixed reception, as it failed to capture the same audience as his earlier works. For today’s viewers, Gwendoline is a film that would leave them sorely disappointed if they expect profundity. The film’s comedic elements are not Jaeckin’s forte, and its narrative is often disjointed. However, for those approaching it with low expectations, the film can be a nostalgic piece of 1980s cinema, a “guilty pleasure” that offers a glimpse into the era’s excesses.

RATING: 4/10 (+)

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