The Sex-Planation: Making Sense of the Final Sex Scene

By Morgan Christopher, with comment by Tatum Lawrence

[1] How Tasty Was My Little Frenchman tells the story of a Frenchman held captive by the Tupinamba, an indigenous tribe of Brazil. Though the French are allies of the Tupinamba, the Frenchman is mistaken for being Portuguese (the enemy) and is thus destined for execution and to be eaten afterwards. He has eight months to live before he is ingested and during this time is given a wife and assimilates to the culture. Since most of the movie shows the Frenchman’s growth and acceptance of the native people’s culture, as an audience member you began to wonder if he will in fact be killed and cannibalized during a feast celebrating his capture as a mark of the tribe’s success against foreign occupation. However, one of the film’s last scenes, which is also the Frenchman’s last intimate scene with his wife, confirms his fate. While the dialogue in the scene is important, the cinematography and choreography of the scene is what makes this scene the most intriguing of the film. The setting and movement between the Frenchman and his wife creates several different moods throughout the story, six specifically, mostly alternating between playful, serious, and somber. By playing with camera angles and strategically concentrating on specific body parts, dictated by the dialogue, the tone of each moment is clearly conveyed and indicates to the viewer not only how Seboipebe and the Frenchman are feeling but how we should feel as well.

[2] At the beginning of the scene the mood is awkward and solemn. Seboipebe, the Frenchman’s wife, brings him food while he is lying in their hammock. They discuss how she will be sad when he dies but will still gladly partake in the cannibalistic ritual. The camera is close up so their facial expressions are easily seen. The dense forest frames their bodies; this contributes to the uncomfortable and heavy mood of the scene and signifies they are both trapped. The Frenchman cannot escape this land that engulfs him and his wife in the shot, but, also, this land is her home, and she is bound to it and its traditions. The Frenchman is still lying in the hammock when he asks, “What must I do during the feast?” The question is surprising and shows he has made peace with his fate. His body language confirms his acceptance of his death even more because he is in a vulnerable position (lying on his back) and is ready to deal with anything that may come. Seboipebe, conversely, is on the ground, knees bent to her chest, with her arms crossed. She is closed off. Their conflicting body language also contributes to the awkwardness of the moment. However, it rapidly changes after the Frenchman asks for directions, and she is happy to literally walk him through the experience.

[3] Seboipebe runs out onto the plateau and the Frenchman follows; there is immediately a shift in mood and happiness. The couple’s playful interaction defuses the serious situation they face: the Frenchman’s death. Again, nature frames their bodies, but now they are seen whole, not just their faces. The change in scenery immediately alters the mood. Though they are still trapped on the plateau -- forest on one side and the ocean to the other -- the light blue sky and deep ocean look far less menacing than the forest and makes for a more pleasant encounter. There is a feeling of solitude, like they are the only two people in the movie. They stand alone in this South American Eden. The gorgeous surroundings have not been disrupted by man, like Earth’s first paradise. Naked, staring at one another, Seboipebe begins to explain what the Frenchman has to do and why. Like Eve offering Adam the fruit, easing his apprehension while sealing his horrible fate, Seboipebe escorts the Frenchman to his demise. While as an audience we are now almost certain he will be killed, there is stillness in this moment. The Frenchman’s wife is talking about his death, but we cannot feel it. She skips, runs, and dances around him. Their naked bodies are still in full view, which becomes the indicator that the mood is light: “You have to run . . . and then all of us shall run after you. Run fast . . . as a warrior does. You can’t escape . . . but you’ll be respected . . . You’ll be led back.” The camera shows husband and wife separately onscreen and alternates between the two in a seemingly circular motion, mimicking her movements.

[4] The camera zooms onto Seboipebe and the Frenchman’s faces, and the scene shifts back to a heavy mood, the third scene shift of the scene. She rubs dirt on his face and then presses her cheeks against his. The camera is so close the landscape can barely be seen, and we feel closer to what they are experiencing: one of their final physically intimate moments. She continues giving directions, “You have to dance for a while lead by a rope.” But the mood changes again. He laughs, jogging after her, as if she is pulling him by a rope. The camera circles, as it did earlier, following them around; their entire bodies are seen in the shot. The Frenchman’s demeanor does not reflect that of someone who is practicing his death march. Blissfully marching behind her, there is a childlike quality in their behavior. A simple game, the love and sheer enjoyment of one another’s company is seen here. We are witnessing a happy marriage, people who can make light of the most difficult situation. Even after watching this a second and third time, knowing he will die, I forget when they seem to forget what they are actually emulating.

[5] After running in a complete circle, Seboipebe stops. She approaches the Frenchman from behind, and he is facing the camera. Their faces take up the whole screen, once more indicating the mood is now heavy, a fifth mood shift. Seboipebe is gentle yet serious because she is delivering the Frenchman his final words. “When I die . . . my friends will come . . . to revenge me.” She stresses the importance of correctly addressing the chief and promising vengeance. He does not accurately repeat her line, and she makes him say it again. He speaks softly and with little facial expression; the camera focuses on his face, but she is still in the frame as well. Then it quickly zooms out. He yells the lines, holding his arms out with his eyes closed. With this definitive action the mood changes yet again, a sixth time. We respect him for attacking the situation fearlessly, and the tribe will hold him in equally high regard for this. There is a brief surge of power, even though it is the moment that represents his death. (see comment by Tatum Lawrence)

[6] The Frenchman is happy and in control for the first time during this scene; his whole body is seen, flexed and strong. He happily shrugs off his pretend death and inquires what is next. This fearlessness is an aphrodisiac to the Frenchman’s wife. As she pulls him to the ground, the sexual tension is palpable. As she lies on top of him, it is evident they will partake in their last physical encounter with one another. Their entire bodies are seen in the shot, but it slowly zooms in as they begin to kiss each other’s necks. Eventually only their upper extremities are in the shot, and the Frenchman rolls on top of her. Their closeness is evident as is the finality of their relationship after sex. Bittersweet, they slowly roll down the plateau and eventually out of the camera’s shot. The camera lingers on the shot even though they are not in the picture. This final shot explains the significance of the scene and foreshadows the turn their relationship will take. The couple stands at the top for most of the scene. Seboipebe explaining what will happen and how the Frenchman should behave is the peak of their relationship. She cares enough about him to make sure he leaves the earth considered a brave and respected man. The last time the audience sees them touching is when they are laying down on top of one another. An inside joke is born, and they begin having sex: two significant forms of intimacy in any relationship. As they roll out of the shot, they are no longer on the very top of the rock. Like the plateau, their relationship has grown as far as it possibly can, and there is nowhere to go but down.

[7] How close and far the camera zooms in on the Frenchman and his wife’s movements indicates how we are supposed to feel. When just their faces or upper bodies are seen, we are supposed to feel the seriousness of the situation. Conversely, when their whole bodies are shown, the mood of the scene is happy and playful. Their dynamic movement when they are dancing and running around is necessary to make their joy in that one moment believable, whereas faces and stagnation best convey sadness. Seboipebe is telling the Frenchman a story through the dialogue, the story of how he will die, but we understand it through their motion and how the camera chooses to show their movement.

Comments

Tatum Lawrence 3/24/12

I believe this recollection of the scene focuses too much on the actual physical aspects and not enough on the dialogue that is exchanged between Seboipebe and Jean. The words Jean leaves out from the ceremony are important. As he intentionally forgets to add the lines “when I die,” it seems as if he is not accepting his fate at all and is, in fact, failing to admit the most crucial part of the cannibalism ceremony. When he finally shouts the words, arms spread, naked and vulnerable, I would be more inclined to believe, at that moment, that he has accepted his fate. However, he also fails to utter the words later when the moment of his sacrifice is actually upon him, showing his wavering dedication to the cause.