Perfume (15) ***

1:11pm Friday 22nd December 2006

IMMERSING us in a world of intoxicating sensory pleasures, Perfume: The Story Of A Murderer is an audacious, dreamlike work, which will either seduce you or leave you cold.

There is no middle ground.

Based on Patrick Suskind's seemingly unfilmable novel, Tom Tykwer's ravishing picture attempts to convey the invisible delights of a lingering fragrance within the cinematic framework.

For those members of the audience willing to succumb to his lush vision, it's a heady journey into the mind of a serial killer who barely utters a word for the entire film, conveying a maelstrom of emotions through Ben Whishaw's extraordinary lead performance.

Unfortunately, the slavish devotion of co-writers Andrew Birkin, Bernd Eichinger and Tykwer to the source novel will test the patience of even the most ardent fan.

Jean-Baptiste Grenouille (Ben Whishaw) is born into this festering hellhole and is cruelly discarded by his mother, before greedy orphanage owner Madame Gaillard (Thomas) takes the child under her wing.

From an early age, Grenouille develops an obsession with the world of aromas: in particular, the scent of a pretty fruit vendor (Karoline Herfurth), whom he kills by accident.

Haunted by the smell of the dead girl, Grenouille secures work as an apprentice to renowned parfumier Giuseppe Baldini (Dustin Hoffman).

Grenouille hones his craft and soon realises that the ingredients for his ultimate perfume, one which will bring the world to its knees in reverie, can only be harvested from the dead bodies of young women.

And so he embarks on a killing spree, targetting the virginal Laura Richis (Rachel Hurd-Wood) as his final victim, except her merchant father Antoine (Alan Rickman) senses the impending danger, and spirits her far away.

Unfortunately, Grenouille intends to have her scent for his collection, come what may.

Whishaw's largely wordless portrayal of a psychopath sears into the memory, his gaunt face flickering momentarily to life when a new aroma suddenly catches Grenouille's fancy.

Rickman is an excellent foil but Hoffman is a tad hammy.

The pedestrian pace thankfully gathers momentum as the authorities close in on the killer, building to an extraordinary climax at a public execution.

Editor's choice