*Odours, odours, odours. Immense pleasure they give to the imagination named Jean Baptiste Granuille. An imagination of a novelist, 'adapted' by a team of filmmakers.
*Know that, in entirety, the film's name is Perfume: The Story of a Murderer. Whether the forebearing novel's title forebears too matters little. So is certainly my personal thought, or 'perhaps' invective. Pers-p-ective.
*When Jean( Baptiste Granuille) enters 'Paris city proper' for the first time on his own two feet, the movie's narrator says- he was not choosy...he was very greedy...his goal was to possess all the odours in the world...his only condition being that there were new ones.
*As if to remind a viewer here and there -that odour molecules are gaseous- the frame is defocussed here and there. Particularly the frame of the shot commencing the film's declaration of unique odours, of odours that 'shall never be born again'. The body odour of a woman in Paris, who is unknown to us and Jean, is first represented by a frame that 'twirls/swirls a bit' as it approaches him. But, actually, the trajectory of most odour molecules cannot be determined. Most odour molecules that have been, are, and will be. Perhaps human-made equipment of the present or the future shall trace solitary trajectories. I don't see any use of that, of course.
As if to remind a viewer here, another viewer there and so on -that odour molecules are gaseous- some shots are defocussed. The introduction to one 'extremely beautiful' odour is, additionally, 'twirling/swirling a bit'. That shot is so because of being Jean's earliest sensation at this magnitude, and being a 'natural emanation' from a human body (not from a cloth, an ink or an alga, but from a woman). Regardless, the trajectory of most odour molecules cannot, and perhaps shall not, be determined. Even less remembered and/or recorded.
As if to remind a viewer here, another viewer there, and so on -that odour molecules are gaseous- some shots are defocussed. The introduction to one 'extremely beautiful' body odour is, additionally, 'twirling/swirling a bit'. That frame/shot is so because it is the first time that Jean senses an 'extremely beautiful' odour, which happens to be emanating from/emanated by a human. Not a cloth. Not an alga. Not an ink. But a woman. Significantly, all the odours that Jean considers 'extremely beautiful' are natural emanations of young, slim, beautiful women with hairless vaginas. What of young, handsome men? What of young hermaphrodites? If the natural body odour of a woman with a hairless vagina can be nice, so can that of a woman on whose vagina hair is thriving, and that of a hermaphrodite, even if not of a man. Regardless, the trajectory of most odour molecules cannot, and perhaps shall not, be determined. Even less remembered or/and recorded.
As if to remind a viewer here, another viewer there, and so on -that odour molecules are gaseous- some shots are defocussed. The film's declaration of odours that are 'extremely beautiful' and shall 'never be born again' is commenced by one such shot. Additionally, the frame during this shot 'twirls/swirls a bit' as it approaches Jean, signifying the specialty of the odour nearing Jean's olfactory sense. However, the trajectory of most odour molecules cannot, and perhaps shall not, be determined. Even less remembered and/or recorded. Most odour molecules that have been, are, and will be. Perhaps human-made equipment of the present or the future shall trace solitary trajectories. I don't see any use of that, of course. Regardless, one aspect of the film is begun establishment of only after the 'swirling/twirling' frame has been exhibited. The 'extremely beautiful' odour signified by this exhibition is a 'natural emanation' from a human body. Not a cloth. Not an alga. Not an ink. But a woman. So what is that aspect? All the 'naturally beautiful-smelling' humans are young, slim, attractive women. Visual beauty has no worldwide biological connection in any human. If the natural body odour of a young, slim, attractive woman is nice, so is that of a young, plump, attractive woman, and of a young, slim, attractive hermaphrodite, and of an old, slim, attractive woman, and of an old, fat, attractive woman, and of a young, fat, attractive hermaphrodite, and........................................The same is true of unattractive women and hermaphrodites, plainfaced hermaphrodites and women, ugly women and hermaphrodites, repulsive women and hermaphrodites, uninteresting hermaphrodites and women, etc. Readers who object to my exclusion of men should consider what I have been considering- does testosterone induce stink on every man's skin and in every man's urine? is the average male stinkier than the average female and average hermaphrodite? However, I am sorry about not once mentioning boys(hermaphrodites; males) and girls(females; hermaphrodites) in this consideration of the olfactory beauty emanated by humans, if any.
*Ho! O! Vow! Yo! Jean was no anti-hero! He just did what he did! Sure, he looked scary in several shots. But that was merely a mindless scared feeling on my part.
*'Stream of considerations'- will he, the film's titular murderer, kill the thirteenth girl? he's killed he. will he be prevented from completing his mixture of 'intoxicating' odours? he's completed it. will he be killed? he's been arrested and being tortured.
was the perfume destroyed? did those with the say deem its 'genesis' disgusting? i want to witness its effect, if it has been left alone......would all humans in the world think that they are in paradise? if so, would other fauna think the same? would the paradise be Christian?
I don't care about the 'answer' to the last question. I certainly skimmed over Jean's exclamation that he knew all the odours in the world. Until his olfactory sense had neared them, he didn't know the (floral) odours extant and nurtured in Grasse. And during his entire life, he knew none of the (culinary) odours occuring in India, China, certain African countries, etc.
*Perfume: The Story of a Murderer is a heterosexual film. It does have a fleeting shot of two men beginning to make love with each other and several brief shots of two women making love. But all other bits of the film, including posters promoting/advertising it, are showcasing white, slim, young, female sexiness.
*The titular murderer considers the hair on each victim's head to be carrying a significant amount of her 'natural odour'. What about the hair on her vagina? Vaginas look beautiful, smell beautiful, feel beautiful.....when hair is allowed to thrive on them. Why didn't Jean clip off any victim's vaginal hair? Had society shaven it off: dominant notion of femininity: oppression?
*Title of this 'article'- Vaginal beauty versus Virginal beauty. ?!! Hence, it is tentative. No. I shall untitle this 'article'. I mean, no title necessary for this 'article'.
Not an elephant, owl,
alga, egg/ovule, (rhymes better than ovum)
(is closer than ovum, to owl,
Not a cloth, powder,