This French film by director Andre Techine provides an eye-popping role for Emmanuelle Beart, but was in many ways a very disturbing experience full of apprehension for the viewer. The time is 1940 and having been widowed early in the war, she is fleeing the German advance on Paris with her cosseted 13-year old son and rather bratty daughter. When their car is strafed by enemy fighters and dozens around them killed, the three lose everything and have no idea where to turn, until they are helped by a resourceful teenager, played by Gaspard Ulliel whom I reviewed recently in his role as the young Hannibal Lector. There is something not quite right about him with his shaven head, rude manner, and fainting fits, but they gratefully accept his help and settle into an abandoned mansion which he has broken into.
Beart is deeply upset at his presence, especially after she finds that he has scavenged a gun and a grenade amongst his daily foraging, but she is also grateful that he manages to find food for her family and on the surface she tries to think of him as an older son. However there is a pulsating visceral attraction between them, which eventually leads to very rough sex; although she was 40 when this movie was made, Beart still possesses a lush body and is not afraid to show it. From here onward things go from bad to worse when it becomes clear that the war has been over for several days as far as France is concerned and when the authorities intervene. Without giving away the downbeat ending, I will only say that the film stops fairly abuptly with Beart still trying to protect the now somewhat tarnished innocence of her children. To be honest, although it was well made, I really didn't like this movie; it made me feel afraid much of the time and just a little bit dirty.
1 comment:
They say war is a leveller - it's a shame nobody told the police that. The relationships are interesting - part appreciative, part fear, part liking, part hating - just like most really though we don't admit it.
For me the best thing was the way it was mostly shot ouside, so there's all the natural light - even in the kitchen scenes, the doors are open and the fields are trying to get in. And the post-coital scene by the pond with the reflected moonlight rippling across their faces is nicely done.
I was thinking about down-beat endings. It was good the news of his death was relayed here - you didn't see it. Maybe that way you see more of the effect on Beart's character.
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