Lost in the 70s: Going Places (1974)***

 

"One could describe the film as an amalgam of Godard’s Weekend with Butch Cassidy and the Sundance Kid. Except Blier has none of Godard’s wit and his characters have none of the charm of George Roy Hill’s good-natured desperados"

Click Here to Read the Full Review 

Lost in the 70s: Going Places (1974)***

 

"One could describe the film as an amalgam of Godard’s Weekend with Butch Cassidy and the Sundance Kid. Except Blier has none of Godard’s wit and his characters have none of the charm of George Roy Hill’s good-natured desperados"

Click Here to Read the Full Review 

Un coeur en hiver (1992)****

 Reviewed by Shu Zin

UN COEUR EN HIVER is a strange little film written and directed by Claude Sautet. It is about as French as it gets. Daniel Auteuil is the guy with the heart in hibernation, and he assumes this role with subtlety and finesse. As a gifted maker of violins, he drives just about everybody in his life a little crazy with his detached silence, his passive aggression. It is easy to find him detestable. This story takes place over about a year, when he becomes involved with a beautiful young violinist, Camille Kessler, played by the lovely and vulnerable Emmanuelle Beart. 

There is a great deal of emotional and sexual tension in this quiet, odd film, but somehow, everyone seems real and credible. And utterly French in sensibility, right down to the foppish, uneasy, self-conscious discussion of aesthetics we are privileged to see and snicker at. One of the greatest aspects of this puzzling, disquieting film is the lovely score, brimming with violin sonatas and trios by Debussey. Highly recommended.

Reviewed by Shu Zin

Un coeur en hiver (1992)****

 Reviewed by Shu Zin

UN COEUR EN HIVER is a strange little film written and directed by Claude Sautet. It is about as French as it gets. Daniel Auteuil is the guy with the heart in hibernation, and he assumes this role with subtlety and finesse. As a gifted maker of violins, he drives just about everybody in his life a little crazy with his detached silence, his passive aggression. It is easy to find him detestable. This story takes place over about a year, when he becomes involved with a beautiful young violinist, Camille Kessler, played by the lovely and vulnerable Emmanuelle Beart. 

There is a great deal of emotional and sexual tension in this quiet, odd film, but somehow, everyone seems real and credible. And utterly French in sensibility, right down to the foppish, uneasy, self-conscious discussion of aesthetics we are privileged to see and snicker at. One of the greatest aspects of this puzzling, disquieting film is the lovely score, brimming with violin sonatas and trios by Debussey. Highly recommended.

Reviewed by Shu Zin

Inspector Bellamy (2009)****

Reviewed by Shu Zin

INSPECTOR BELLAMY is a sensitive, thoughtful character study of a middle-aged detective on vacation in Nimes, where he and his wife stay at the house Bellamy and his brother grew up in. As the very last movie directed by the prodigious Claude Chabrol before his death in 2010, I find it quite the nuanced study of a man past his peak, full of little insecurities, yet still alert, sympathetic and kicking when it comes to solving crime. 

Gerard Depardieu does a great job playing the kindly inspector. Those who find him gross because he is fat have eyes in their heads, but not much in the way of humanity or empathy; they should probably stick to the slim, vacuous people from Hollywood. For me, the actors tonnage added to the credibility and pathos of the character. 

The supporting characters, Bellamy’s wife (Marie Bunel), his troubled brother (Clovis Cornillac), the odd fellow who confesses to murder, the sophisticated fellow who, curiously, lives on the street and his girlfriend of 5 years, a gay dentist and his sweetie, even the wife of the mysterious insurance guy who confesses, are all well-acted, intriguing characters, and while this may not be one of Chabrol's very best films, it has charm and held me engrossed in these people and the story. Highly recommended, and if, like me, you have seen everything you can lay your hands on by Chabrol, see it as a final tribute to his long and prolific career. He is one of the most interesting French directors in my opinion and, certainly, he left an enormous body of work to entertain and intrigue French film lovers. 

Reviewed by Shu Zin

Inspector Bellamy (2009)****

Reviewed by Shu Zin

INSPECTOR BELLAMY is a sensitive, thoughtful character study of a middle-aged detective on vacation in Nimes, where he and his wife stay at the house Bellamy and his brother grew up in. As the very last movie directed by the prodigious Claude Chabrol before his death in 2010, I find it quite the nuanced study of a man past his peak, full of little insecurities, yet still alert, sympathetic and kicking when it comes to solving crime. 

Gerard Depardieu does a great job playing the kindly inspector. Those who find him gross because he is fat have eyes in their heads, but not much in the way of humanity or empathy; they should probably stick to the slim, vacuous people from Hollywood. For me, the actors tonnage added to the credibility and pathos of the character. 

The supporting characters, Bellamy’s wife (Marie Bunel), his troubled brother (Clovis Cornillac), the odd fellow who confesses to murder, the sophisticated fellow who, curiously, lives on the street and his girlfriend of 5 years, a gay dentist and his sweetie, even the wife of the mysterious insurance guy who confesses, are all well-acted, intriguing characters, and while this may not be one of Chabrol's very best films, it has charm and held me engrossed in these people and the story. Highly recommended, and if, like me, you have seen everything you can lay your hands on by Chabrol, see it as a final tribute to his long and prolific career. He is one of the most interesting French directors in my opinion and, certainly, he left an enormous body of work to entertain and intrigue French film lovers. 

Reviewed by Shu Zin

Portraits Chinois (1996)

In this ensemble comedy, a group of 30ish Parisian professionals scramble to sort out career, romance and all the other scary issues people at that age worry about. Power couple Ada (Helena Bonham Carter) and Paul (Jean Philippe Esoffey) have purchased one of those fabulous Paris apartments overlooking the river and, at a house warming party, we are introduced to their amusing network of envious friends and neurotic coworkers.


Bonham Carter is the anchor of the story, as the pressures and intrigues at her fashion design studio serve as the catalyst for much of what follows. Over the course of the film, we become intimately involved in the lives of all of these ambitious young folks, and share their successes, failures, sexual dalliances and occasional disfunctions.


Voice-Overs are used to contrast what characters are really thinking with their public actions, and while this may seem heavy-handed, it actually works to great comedic affect in this scenario. Director Martine Dugawson has apparently made a close study of the Woody Allen filmography, as the film has the look and feel of Allen products of this period.


At heart, this is a film about friendship and yes, while there are times we would all like to tell our friends to jump into the Seine, ultimately, we really do need them. In all, “Portraits Chinoise” is a light and enjoyable endeavor that never takes itself too seriously, and has a pleasing, almost innocent, 1990s vibe.

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Portraits Chinois (1996)

In this ensemble comedy, a group of 30ish Parisian professionals scramble to sort out career, romance and all the other scary issues people at that age worry about. Power couple Ada (Helena Bonham Carter) and Paul (Jean Philippe Esoffey) have purchased one of those fabulous Paris apartments overlooking the river and, at a house warming party, we are introduced to their amusing network of envious friends and neurotic coworkers.


Bonham Carter is the anchor of the story, as the pressures and intrigues at her fashion design studio serve as the catalyst for much of what follows. Over the course of the film, we become intimately involved in the lives of all of these ambitious young folks, and share their successes, failures, sexual dalliances and occasional disfunctions.


Voice-Overs are used to contrast what characters are really thinking with their public actions, and while this may seem heavy-handed, it actually works to great comedic affect in this scenario. Director Martine Dugawson has apparently made a close study of the Woody Allen filmography, as the film has the look and feel of Allen products of this period.


At heart, this is a film about friendship and yes, while there are times we would all like to tell our friends to jump into the Seine, ultimately, we really do need them. In all, “Portraits Chinoise” is a light and enjoyable endeavor that never takes itself too seriously, and has a pleasing, almost innocent, 1990s vibe.

More Info

The Perfume of Yvonne (1994) ★★★★

Director Patrice Leconte turns the heat up to eleven in this steamy, sensual memoir you won’t soon forget. A young grifter-in-training (Hippolyte Girardot) falls in with the idle rich who summer on Lake Geneva, and along the way becomes involved with an aging effeminate dandy (Jean-Pierre Marielle) and his stunning young protégé (the delectable Sandra Majani).


The trio spends their relaxing days lounging in sunny lakeside cafes and going on leisurely drives in the country, but soon the romantic sparks between Girardot and Majani ignite a raging fire of passion. The couple begins to secretly meet, and Leconte presents their slow, sensual lovemaking with a surprising and breathtaking explicitness.


It is tempting to say that this is not just a film about sex, but that’s not really true. Perfume of Yvonne IS a film about sex, specifically the mind altering effect of sex, and unapologetically so. All the subplots and questions Leconte has raised about the mysterious natures of these characters pale in importance as the intense eroticism of Girardot and Majani dominate the storyline.


And it is in these dizzyingly seductive scenes that we feel we are finally seeing the true natures of these characters; their outer pretentions having fallen away along with their expensive designer clothing. But Lecounte has a few more surprising twists in store for us, and by now, we are glad to go along and see where this winding road leads. This is a film that amuses, titillates, thrills and haunts; saved from perfection only by an ending that is, well, a bit much.


Unfortunately, Sandra Majani never made another film, but at least we have this one to remember her by. And what a memory it is.

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The Perfume of Yvonne (1994) ★★★★

Director Patrice Leconte turns the heat up to eleven in this steamy, sensual memoir you won’t soon forget. A young grifter-in-training (Hippolyte Girardot) falls in with the idle rich who summer on Lake Geneva, and along the way becomes involved with an aging effeminate dandy (Jean-Pierre Marielle) and his stunning young protégé (the delectable Sandra Majani).


The trio spends their relaxing days lounging in sunny lakeside cafes and going on leisurely drives in the country, but soon the romantic sparks between Girardot and Majani ignite a raging fire of passion. The couple begins to secretly meet, and Leconte presents their slow, sensual lovemaking with a surprising and breathtaking explicitness.


It is tempting to say that this is not just a film about sex, but that’s not really true. Perfume of Yvonne IS a film about sex, specifically the mind altering effect of sex, and unapologetically so. All the subplots and questions Leconte has raised about the mysterious natures of these characters pale in importance as the intense eroticism of Girardot and Majani dominate the storyline.


And it is in these dizzyingly seductive scenes that we feel we are finally seeing the true natures of these characters; their outer pretentions having fallen away along with their expensive designer clothing. But Lecounte has a few more surprising twists in store for us, and by now, we are glad to go along and see where this winding road leads. This is a film that amuses, titillates, thrills and haunts; saved from perfection only by an ending that is, well, a bit much.


Unfortunately, Sandra Majani never made another film, but at least we have this one to remember her by. And what a memory it is.

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Intimate Strangers (2004)

Fans of intricate, character driven dramas will enjoy this film by talented director Patrice Leconte. Fabrice Luchini is terrific as a tax attorney whose dully predictable life is turned upside-down by a new client: a beautiful woman (the always excellent Sandrine Bonnaire) who, instead of ledgers and receipts, brings him woeful tales of marital strife. She has mistaken him for a nearby psychiatrist, but before Luchini can correct her, he finds himself oddly intrigued by this woman, and more than a little smitten.


Their furtive sessions continue and, slowly and methodically, fascinating questions are raised as to who is actually being deceived and for what purpose. The mysterious story is spun like a spider web, with each bit of information adding to the strength and complexity of the entire construction and each new layer adding to the film’s credibility.


It is a credit to the acumen of Luchini and Bonnaire that the story remains squarely on track as, on paper, it seems a bit far-fetched, yet there is never a moment here that feels forced or manipulative. Leconte presents a number of interesting observations on the nature of therapy itself by having virtually every character in the film, at one time or another, offer help and advice, usually with results that are more amusing than beneficial. Bonnaire’s ham-fisted attempt to cure a claustrophobic man is a welcome bit of comic relief, and reinforces the idea that therapy should usually be left to the professionals.


Eventually, both Bonnaire and Luchini - patient and ersatz doctor - become intertwined on a course that will lead either to mutual healing or violent confrontation, and this reviewer was quite happy to follow the treatment to its satisfying outcome.

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Intimate Strangers (2004)

Fans of intricate, character driven dramas will enjoy this film by talented director Patrice Leconte. Fabrice Luchini is terrific as a tax attorney whose dully predictable life is turned upside-down by a new client: a beautiful woman (the always excellent Sandrine Bonnaire) who, instead of ledgers and receipts, brings him woeful tales of marital strife. She has mistaken him for a nearby psychiatrist, but before Luchini can correct her, he finds himself oddly intrigued by this woman, and more than a little smitten.


Their furtive sessions continue and, slowly and methodically, fascinating questions are raised as to who is actually being deceived and for what purpose. The mysterious story is spun like a spider web, with each bit of information adding to the strength and complexity of the entire construction and each new layer adding to the film’s credibility.


It is a credit to the acumen of Luchini and Bonnaire that the story remains squarely on track as, on paper, it seems a bit far-fetched, yet there is never a moment here that feels forced or manipulative. Leconte presents a number of interesting observations on the nature of therapy itself by having virtually every character in the film, at one time or another, offer help and advice, usually with results that are more amusing than beneficial. Bonnaire’s ham-fisted attempt to cure a claustrophobic man is a welcome bit of comic relief, and reinforces the idea that therapy should usually be left to the professionals.


Eventually, both Bonnaire and Luchini - patient and ersatz doctor - become intertwined on a course that will lead either to mutual healing or violent confrontation, and this reviewer was quite happy to follow the treatment to its satisfying outcome.

More Info

Agnes Varda's Le Bonheur at 50

Released in February 1965, this early work by Agnes Varda is ostensibly a cheery movie with bright colors, dappled sunshine and a beautiful, loving family. Yet behind this Monet-esque revery are ideas that may have you questioning some of the basic moral principles of modern society. The story centers on Francois (Jean-Claude Drouot), a square-jawed cabinetmaker who gladly spends every spare moment with his lovely wife and adorable young kids (played by Drouot’s real life family).

Much time is spent establishing the family’s idyllic existence in suburban Paris, as we see them engage in relaxing country picnics and nature walks, as well as exploring the deep bonds of affection and sexuality between Francois and his wife Therese. One day, Francois emerges from his mountainous sawdust pile to send a telegram, and a chance encounter with a postal clerk (Marie-France Boyer) launches a series of profound and strangely disturbing events. There is little else about the plot that can be disclosed, but suffice to say that some very controversial sexual politics are presented. So controversial that if the film had not been directed by a woman, Le Bonheur probably would have ended up on the scrapheap of misogynist cinema.

The bonus material offers a number of interesting interpretations of the film, and is quite thought provoking. The disc itself is beautifully restored thanks to Thomson’s HD Spirit Datacine, a new generation film scanner that makes possible nearly perfect recovery of even badly degraded negatives (which was apparently the case here). In all, this is a film that sticks with you, albeit in a very odd and unsettling way.

Surprisingly for a film of this vintage,  2015 find all of the principles alive and kickin'. Agnes Varda - who has truly seen it all - is a couple years shy of her 90th birthday. The dashing Jean-Claude Drouot is pushing 80 but is busier than ever, having become a virtual fixture on French TV in recent years. Madame Drouet and Boyer are among the living as well, although their acting careers have taken a backseat to other interests. Wouldn't you love to sit at a Paris sidewalk cafe with this lot? Oh the stories they could tell….





More Info

Agnes Varda's Le Bonheur at 50

Released in February 1965, this early work by Agnes Varda is ostensibly a cheery movie with bright colors, dappled sunshine and a beautiful, loving family. Yet behind this Monet-esque revery are ideas that may have you questioning some of the basic moral principles of modern society. The story centers on Francois (Jean-Claude Drouot), a square-jawed cabinetmaker who gladly spends every spare moment with his lovely wife and adorable young kids (played by Drouot’s real life family).

Much time is spent establishing the family’s idyllic existence in suburban Paris, as we see them engage in relaxing country picnics and nature walks, as well as exploring the deep bonds of affection and sexuality between Francois and his wife Therese. One day, Francois emerges from his mountainous sawdust pile to send a telegram, and a chance encounter with a postal clerk (Marie-France Boyer) launches a series of profound and strangely disturbing events. There is little else about the plot that can be disclosed, but suffice to say that some very controversial sexual politics are presented. So controversial that if the film had not been directed by a woman, Le Bonheur probably would have ended up on the scrapheap of misogynist cinema.

The bonus material offers a number of interesting interpretations of the film, and is quite thought provoking. The disc itself is beautifully restored thanks to Thomson’s HD Spirit Datacine, a new generation film scanner that makes possible nearly perfect recovery of even badly degraded negatives (which was apparently the case here). In all, this is a film that sticks with you, albeit in a very odd and unsettling way.

Surprisingly for a film of this vintage,  2015 find all of the principles alive and kickin'. Agnes Varda - who has truly seen it all - is a couple years shy of her 90th birthday. The dashing Jean-Claude Drouot is pushing 80 but is busier than ever, having become a virtual fixture on French TV in recent years. Madame Drouet and Boyer are among the living as well, although their acting careers have taken a backseat to other interests. Wouldn't you love to sit at a Paris sidewalk cafe with this lot? Oh the stories they could tell….





More Info

Claire's Knee (1970)

Yeah its talky.

Sure its a little dull in parts.

But its also intelligent, compelling and absolutely riveting. This most "Rohmery" of Eric Rohmer films is the story of a man who thinks of himself as sophisticated and beyond middle-class morals, but soon learns that his emotions are a jumble of sexual attraction and paternal instinct.


Jerome (Jean-Claude Brialy), in typical male fashion, sees romance as a series of conquests but Beatrice Romand (who steals the picture as a precocious flirt) serves notice to him that the rules of the game have changed. Jerome spends much of the film going back and forth in his motorboat, an apt metaphor since the women in this story have him so confused he doesn't know if he's coming or going.


The film's idyllic mountain lake setting and languid pace perfectly evoke the feeling of being on vacation, and while we're relaxing, we get to have the fun of watching a man approaching middle age grow up a little bit.

More Info

Claire's Knee (1970)

Yeah its talky.

Sure its a little dull in parts.

But its also intelligent, compelling and absolutely riveting. This most "Rohmery" of Eric Rohmer films is the story of a man who thinks of himself as sophisticated and beyond middle-class morals, but soon learns that his emotions are a jumble of sexual attraction and paternal instinct.


Jerome (Jean-Claude Brialy), in typical male fashion, sees romance as a series of conquests but Beatrice Romand (who steals the picture as a precocious flirt) serves notice to him that the rules of the game have changed. Jerome spends much of the film going back and forth in his motorboat, an apt metaphor since the women in this story have him so confused he doesn't know if he's coming or going.


The film's idyllic mountain lake setting and languid pace perfectly evoke the feeling of being on vacation, and while we're relaxing, we get to have the fun of watching a man approaching middle age grow up a little bit.

More Info