La gifle

C’est la vie!

In a life of a geography teacher Jean Douléan everything apparently goes wrong: his mistress leaves him; he faces a possibility of unemployment and he can’t understand his eighteen-years old daughter Isabelle. His daughter «falls in love every five minutes», wants to drop out of the medical school and considers moving in with her boyfriend…

There are cases, when you read the synopsis of a film and it leaves an impression of a banal watching experience. Nevertheless, during the watch you enjoy this film, because of the directing, acting or something else. Sadly, it happens quite rare, but one of these films is «The Slap».

Claude Pinoteau shot «The Slap» as an occurring life story. He doesn’t darkens the mood or put too much melodrama. The film draws parallels from your own life or your acquaintances. This reality was made possible by the fine acting.

Before «The Slap» I saw Lino Venture only as a policeman or gangster. That is why, I was skeptical about this role of Lino Ventura. This film helped me to rediscover this actor – he had convincingly portrayed a strict, but caring father, who tries to connect with his daughter and get his life together.

«The Slap» contains the first big cinematic role of Isabelle Adjani. Isabelle Douléan could be described by one word – a hurricane. Of course, Hurricane Isabelle Douléan cannot be compared with the Category 1 Hurricanes Anna and Camille Claudel, but it is definitely the Category 3. Isabelle Douléan is never calm or constant. In an irresponsible sloven Isabelle Douléan you see the future great roles of Isabelle Adjani. Sadly, Isabelle Adjani did not act much in comedies, but she was brilliant in them as in the drama roles.

The secondary roles were also brilliant. Annie Girardot as a selfish mother of Isabelle. Francis Perrin as a pain-in-the-ass boyfriend. Jacques Spiesser as a secret admirer of Isabelle; the list goes on and on.

«The Slap» is a kind and cute comedy, which was also the springboard for Isabelle Adjani. All those who love French comedies and especially Isabelle Adjani fans, should immediately watch this.

7/10

Happy Birthday, Isabelle Adjani!

When someone talks about Isabelle Adjani, he mostly mentions Marguerite de Valois, Camille Claudel, Eliane, Anna and Adelie H. This roles of Isabelle Adjani are timeless, but her career does not stop with this films.

That is why, on the day of Isabelle Adjani’s birthday, the one should remember her lesser known roles. I’ve chosen the best, in my opinion, roles and have put them in the chronological order.

1. Violette et Francois (1977)

After L’Histoire D’Adelie H. Isabelle Adjani acted in a film of Roman Polanski («The Tenant»), in a film of Andre Techine («Barocco») and her next film was a tragic comedy «Violette et Francois».

Violette and Francois don’t care about the future. Violette was fired from the bank; Francois was booted from the real estate agency, when his superiors found out that his best «customer» was Violette. Unfortunately, the young couple has a little son Paul and they have to find a way to make ends meet. Francois loses yet another job; he can’t secure funding for his newspaper, so he decides to become a professional shoplifter. After first failed theft, they decide to get married and on the day of the wedding, Violette agrees to help Francois in the shoplifting business.

The film shows that Isabelle Adjani is capable of playing not only tragic heroes. The actress has naturally portrayed the evolution of Violette from the infantile and naïve teenager, who got a crush on the Hooligan and ready to condone all of his activities, to the grown woman capable of tough and painful decisions.

2. Les soeurs Brontë (1979)

Frankly speaking, I have discovered Isabelle Adjani quite recently – on the last summer. After acquaintance with her acting, I have decided to reread The Idiot and I have imagined only Isabelle Adjani as Nastásya Philíppovna. Three months ago, I have decided to read the books of the Bronte sisters.

While reading «Wuthering Heights», I imagined only one actress as Catherine Earnshaw – Isabelle Adjani. Sadly, The Actress has not portrayed Catherine, but she morphed her in the image of Emily Bronte.

When «Wuthering Heights» were first published a lot of critics thought that the writer was a man. Isabelle Adjani showed the crossing of masculine and feminine identity in Emily – dressed in a male's outfit to walk the grey fields; even some men say to her that she should be born as a man. Emily Bronte was the hideous and shy woman, but her seldom outbursts were like the northern wind.

3. Tout feu, tout flamme (1982)

It is not widely known, that Isabelle Adjani has started her career as a comedy actress. Into the troupe of the Comedie-Francaise The Actress has played in classical French comedies. Despite the fact, that Isabelle Adjani Isabelle Adjani has earned her place in the Pantheon after «The Story of Adelie H.». After that, The Actress has been always admired and worshipped for her dramatic roles; nevertheless, she had also sometimes played in cute comedies.

In «Tout feu, tout flamme» Isabelle Adjani shows us a variety of persons: the Princess of Darkness, secretly ruling the French and European economy; the sweet girl, who got to take care of her family; the raging monster, who is ready cut anybody’s throat and so on.

Jean-Paul Rappeneau mixes different genres: comedy; father-daughter drama; gangster film and melodrama. The main theme of this film is the father-daughter conflict, spiced by a comedy sauce.

4. Mortelle randonnée (1983)

Most critics say Mortelle Randonnée is the definitive neo-noir, but this film couldn’t be categorized in just one genre. Claude Miller, the talented apprentice of the Nouvelle Vague cinema, who has worked as assistant with Francois Truffaut, Jean-Luc Godard and Jacques Demys, cunningly mixes different genres. Mortelle Randonnée is, one could say, the mix of absurdist tale and noir.

Mortelle Randonnée has a dreamy-like atmosphere: heroine, planning her activities by checking horoscopes, telepathically connecting heroes, supporting characters, which act like a pulp fiction heroes.

Isabelle Adjani gets less screen time but her acting is superb. She shows us a variety of persons: the sweetly naïve student Lucy Brentano, the arrogant top-model Eve Granger, the tragedy-broken Catherine Leiris, and so on. To all those, who say Isabelle Adjani is only fit to play drama queens and a hysterical female, I strongly recommend watching this film.

5. Toxic Affair (1993)

After Camille Claudel Isabelle Adjani has stopped her acting career for five years. She has returned from her «vacation» by acting in Toxic Affair – another forgotten Adjani’s film (along with Tout feu, tout flame, Antonieta, L'année prochaine... si tout va bien and some other).

Toxic Affair would be stupid and boring if it wasn’t for one person, whom we call Isabelle Adjani. The Actress completely steals the show by her magnificent acting. She proves that for the real actress a five year break means nothing. Isabelle Adjani truly captures all hysterics, mood swings, incoherence and egoism of Penelope. The Adjani’s facial expression is superb, as in «The Story of Adelie H.», you could even call this film «The Story of Adelie H. Ultra Light».

Toxic Affair proves that the time break means nothing for the truly great artist – she will electrify after 5, 10 or 20 years.

Les Sœurs Brontë

""Wuthering" being a significant provincial adjective, descriptive of the atmospheric tumult to which its station is exposed in stormyweather"

I have wanted to watch “The Bronte Sisters” for a rather long time. The fact of starring of my favorite French actresses – Isabelle Huppert and Isabelle Adjani – was not the last factor in my desire. Finally, I got hold of the Blu-ray edition. I have decided to postpone the watching and read the books of the Bronte Sisters.

The history of cinema knows many adaptation of books of the Brontes, with Wuthering Heights and Jane Eyre are being the most favorite. On the other hand, there are too few adaptations of the Brontes family.

Life appears to me too short to be spent in nursing animosity, or registering wrongs.

Sadly, I am not acquainted with the acting of Marie-France Pisier. This “ignorance” made a surprise more pleasant. Charlotte Bronte is a ultimate Jane Eyre: mature, reasonable and responsible. A quote from the book of G.K. Chesterson perfectly describes Charlotte: “her heroine is the commonplace spinster, with the dress of merino and the soul of flame".

Charlotte Bronte, as Jane Eyre, has to sacrifice the personal happiness. After the death of her aunt and father's illness, Charlotte was obliged to become the head of a family. She, as her fictional alter-ego, was not broken by this and Charlotte gave us a pleasure of reading the other Brontes. The Gods gave Charlotte a privilege of longer live, acquaintance with great writers and marriage.

“I see a repose that neither earth nor hell can break, and I feel an assurance of the endless and shadowless hereafter“

While reading “Wuthering Heights”, I imagined only one actress as Catherine Earnshaw – Isabelle Adjani. Sadly, The Actress has not portrayed Catherine, but she morphed her in the image of Emily Bronte. The spectators, who got used to the “burning” Adelie Hugo and Camille Claudel would be surprised to see Adjani into this, at first sight calm role. During the film, Isabelle Adjani unleashes the internal fire of Emily.

When “Wuthering Heights” were first published a lot of critics thought that the writer was a man. Isabelle Adjani showed the crossing of masculine and feminine identity in Emily – dressed in a male's outfit to walk the grey fields; even some men say to her that she should be born as a man. Emily Bronte was the hideous and shy woman, but her seldom outbursts were like the northern wind. She feels the most sincere feelings towards her brother and his death was one the main causes of her passing away.

“I began this book with the intention of concealing nothing, that those who liked might have the benefit of perusing a fellow creature's heart”

The typical spectator would associate Isabelle Huppert with Erika Kohut and other “prostitutes, murderers, sadomasochists, fetishists and lesbians” (plagiarizing from one Russian web-site). The Actress played this parts with equal brilliance, but if you do a more careful research, you would find brilliant “normal” roles. Anna Bronte captures the text of Agnes Grey.

In 1977, Isabelle Huppert played in “The Lacemaker” and you would find the parallels between Pomme and Anna Bronte. As Pomme, Anna Bronte is a sweet, naive and sincere girl. The youngest Bronte works as a governess to cruel children and parents, who treats her as a slave. Despite all human and physical dirt, Anna keeps her spiritual purity. She is the only person, who finds a common language with Emily; her death breaks her.

“...for it seemed as if all joy had vanished from the world, never to be restored"

The visual side of The Bronte Sisters reminds us of Barry Lyndon. As Stanley Kubrick has portrayed the XVIII-century England, The Bronte Sisters depicts Northern England of the XIX century. Andre Techine, along with Bruno Nuitten, showed a bleak and depressive Yorkshire: strong winds; snow; gray sky and dirt. The one could understand the basics for Wuthering Heights by wathcing this film.

The Bronte Sisters is a sincere film with some great acting. Sadly, back in 1979, this film was eclipsed by Apocalypse Now; now you could fully appreciate this film.

9/10

La Reine Margot

Mes catholiques, mes protestants, réunis tous ensemble dans la Maison de Dieu. C'est un symbole ce mariage, ça va tout arranger!

In my opinion, the book of Alexander Dumas-father «Queen Margot» is not a literary masterpiece. This book is well written, interesting, and enjoyable; nevertheless, it is unrealistic, too romantic and influenced by propaganda against Catherine de Medici. Patrice Chéreau have taken out the best parts of the book, and have created his own vision of the XVI-century France.

The director drags the spectator into the real Middle Ages – blood, dirt, worthless human life, promiscuity of the French court. Patrice Chéreau portrays France, which is torn by a horrible civil war, when «the brother shall deliver up the brother to death, and the father the child: and the children shall rise up against their parents, and cause them to be put to death».

«La Reine Margot» shows the inner world of a French ruling class with a weak and hypochondriac Charles IX as the nominal ruler. In reality, there is a ruthless political game between Catholics and Huguenots. Neither Admiral Coligny or Duke de Guise are interested in the well-being of France, they only pursue their military and political interests.

The St. Bartholomew's Day massacre depicted as the bloody orgy, which has nothing to do with a religion. In the 10-minute span, the director portrays a graphic portrait of people, who lost all traits of honor and humanity; they are cutting throats of women and children and molest corpses just for fun.

Jean-Hugues Anglade has convincingly portrayed weak and hypochondriac King of France. He clearly understands, that he is merely a toy in the hands of his mother and nobility, but he can’t break the circle. The Actor has brilliantly showed the good side of Charles IX, who is capable of admiring true friendship and abhors violence.

Daniel Auteuil portrayed King of Navarre, and the future King of France Henry IV, who is forced to become a hostage and takes his own «school of unhappiness». King of Navarra is degraded to the spectator of Huguenots genocide, but he is still, compared with Charles IX brothers, capable of a human conduct.

Virna Lisi showed The Princess of Darkness, The Devil in the Flesh, which is morphed in the form of Catherine de Medici. She is the only person, who cares about the future of France. Catherine plays on her own «chess board», but the fate has prepared the different future for her. Despite the blood on her hands, one could feel a certain degree of admiration and compassion towards Catherine, you could even quote Oscar Wilde: «Sin is the only real colour-element left in modern life».

Everyone, who is got used to the «burning» Adelie Hugo, Anna, Camille Claudel and Penelope would be stunned by Isabelle Adjani’s acting. Margaret de Valois is the ultimate Royal consort – cold, arrogant and emotionally distant. The Actress portrayed the tragedy of a woman who was always the other’s people toy; who is stuck in the loveless marriage; whose only form of rebellion is the quick affairs. Nevertheless, Margaret was the only person who found the courage to protect the unloved husband and who become his tutor in the «school of unhappiness».

As Jeanne Moreau in «Les Amants», Isabelle Adjani portrays the transformation of Margaret de Valois by a true love in the form of La Mole. She becomes a woman, who breathes freely and is ready to commit the most selfless acts. Isabelle Adjani’s acting is more restrained, than in her other masterpieces, she relies more on the voice acting, facial expression, eyes. This restrained technique does not make Adjani’s acting weaker, than in her other masterpieces. The last scene of «La reine Margot» could make your heart bleed nothing less than the scenes of «L’Histoire de Adelie H.». After this film, you want to give The Actress a standing ovation. In addition, one would like to thank Mademoiselle Adjani for not wasting her acting genius on the second and third-rate films; she saved herself only for the best.

Others actors were also brilliant. Pascal Greggory as the cunning Duke of Anjou, who is willing to do anything to become a King. Miguel Bosé as the arrogant Duke de Guise. Dominique Blanc as Henriette de Nevers – Margot’s friend and accomplice. Veteran French actor Jean-Claude as Admiral Coligny; the list goes on and on.

«La Reine Margot» is an off-charts brilliant film, which would be interesting to everyone.

10/10

Tout feu, tout flamme

The École polytechnique alumni Pauline Valance works as an assistant to the Minister of the Economy, Finances and Industry and single-handily supports her family. Everything goes on as usual, until sudden comeback of Victor – the ne'er-do-well dad. Pauline treats him with a cynical suspicion. Her suspicions are realized when Victor makes grandmother to sign a power of attorney certificate and sells the family flat. Driven by animalistic rage, Pauline, along with gangsters, chases her father to the French-Swiss border.

It is not widely known, that Isabelle Adjani has started her career as a comedy actress. Into the troupe of the Comedie-Francaise The Actress has played in classical French comedies. Despite the fact, that Isabelle Adjani has earned her place in the Pantheon after «The Story of Adelie H.». After that, The Actress has been always admired and worshipped for her dramatic roles; nevertheless, she had also sometimes played in cute comedies.

In «Tout feu, tout flamme» Isabelle Adjani shows us a variety of persons: the Princess of Darkness, secretly ruling the French and European economy; the sweet girl, who got to take care of her family; the raging monster, who is ready cut anybody’s throat and so on.

Yves Montand looks good as a ne'er-do-well dad, whose business schemes are always goes belly-up. Actor uses his natural charm and brings comedy relief to the film; the most hilarious scene was the Chinese scene.

Jean-Paul Rappeneau, the director of Von Voyage, mixes genres: comedy; father-daughter drama; gangster film and melodrama. The main theme of this film is the father-daughter conflict, spiced by a comedy sauce.

«Tout feu, tout flamme» is a very cute comedy with a good Isabelle Adjani-Yves Montand acting duo. All those who love French cinema, and especially Isabelle Adjani fans, should immediately watch this film.

7,5/10 

Possession

Goodness is only some kind of reflection upon evil

Back in 1978, Andrzej Żuławski has offered Isabelle Adjani the double role, but she turned it down. Only after the birth of her first son, The Actress has agreed to act in this, to put it mildly, rather strange motion picture.

Mark comes back to his family in West Berlin. From the first minutes, it is obvious that his marriage with Anna is disintegrating. Anna denies any extramarital affairs, but Mark finds out and after throwing a tantrum in café, leaves the family. After three weeks, Mark pays visit to the apartment and finds out neglected son Bob. When Anna comes back, the couple gets into very ugly and violent confrontation. Going mad from jealousy and love, Mark hires a private detective.

Possession starts out as a rather over-the-top family drama: absent husband, sexually frustrated wife, love triangle and son in the middle of it. Nevertheless, after the first eight minutes, Andrzej Żuławski begins to gradually build tension and create atmosphere of the madness. Mark and Anna are starting very violent arguments, autosadism. Despite all of this, Mark still loves Anna and would do anything to get her love back. I think a lot of viewers would think that Mark and Anna should separate, but minute after minute Possession drags you further and further. After the first half, Andrzej Żuławski makes the U-turn,

What I miscarried there was sister Faith, and what was left is sister Chance. So I had to take care of my faith to protect it

The over-the-top family drama stops and starts something, which could’t be categorized in just one genre. The second half of Possession, one could say, is the mix of horror, parable, psychological thriller and philosophic film essay.   

The detective and Mark finds out that into the so-called love nest lives The Thing, fed with corpses, which morphs into the human. Anna tells the bizarre story of its birth.

Andrzej Żuławski adds the favorite Dostoevsky theme – the lack of faith and it’s surrogates. All members of a love triangle are trying to make-up for their lack of faith: Mark by his mad love to Anna; Heinrich by drugs and dzen-buddism; Anna goes even further and creates her own God. Concerning Anna, you could even quote a passage of Kirillov from «The Possessed»: « God is the pain of the fear of death. Whoever conquers pain and fear will himself become God. Then a new life, then a new man, everything new...»

The duality theme plays a vital part in this film, starting with Berlin and the Berlin Wall. Also Mark meets Bob’s schoolteacher Helena, the complete copy of Anna, who is kind, sweet and have a true affection for a boy. The duality theme is used as in a classical literature – good and bad side; thesis and antithesis.

The further you get away from yourself, the more challenging it is. Not to be in your comfort zone is great fun

Isabelle Adjani has earned her place in the Pantheon after «The Story of Adelie H.», but Possession deserves a second statue, in analogy with a Roman triumph, on the Forum of Cinema. You can’t measure The Actress work by acting school standards:  it is not a method acting, it is not any other school; it is Isabelle Adjani’s acting. The Actress has widened the scope of a human possibility in acting; her body language and facial expression captures every aspect of Anna’s psychological condition.   The subway scene provokes a mixed feeling of disgust and amazement. It is hard to believe, that Isabelle Adjani never formally studied acting and after the film, you really begin to appreciate her acting genius.  

I always thought that Sam Neil is good, but rather mediocre actor. Although, in Possession he also showed brilliant acting. Even the simplest Neil’s scenes are filled with madness. For Sam Neil, his «acting Rubicon» was the opening sequence of his secluded life. Heinz Bennent was also good, but his role was rather supporting.

Bruno Nuytten camera takes a vital part into creating the atmosphere of madness. The camera, which is constantly following the characters, makes a 180 or 360 degrees turn and perfectly captures the inner world of the protagonists. The carefree editing style, which gone into a fashion again and annoys, perfectly suits this film.

Possession is a film that disgusts; it is a very tough challenge to watch it. Nevertheless, if you watch this film, you shall never forget it.

9/10

Toxic Affair

I think I have a cancer!

After "Camille Claudel" Isabelle Adjani has stopped her acting career for five years. She has returned from her «vacation» by acting in "Toxic Affair" – another forgotten Adjani’s film (along with Tout feu, tout flame, Antonieta, L'année prochaine... si tout va bien and some other).

Since abandoning her modeling career, Penelope constantly throws herself out of the frying-pan into the fire. She has writing ambitions, but doesn’t have any ideas about what to write, cries at the psychiatrist office, argues with her mother. One night, she drives her boyfriend Georges so mad that he breaks-up with her. After that, Penelope completely loses her sanity and storms her girlfriend’s Sophie apartment. For the next 48 hours, Penelope tries to cope with her loss by different methods: the failed suicide attempt, the visit to the African-French extrasensory and so on and so on.

Penelope is the quintessential drama queen. Everyone, at least once, have met a female who constantly writes or talks about her writing ambitions which are stopped by a lack of time; about their contradictions and wish to hide in the monastery; who tries to hide their infantilism by constant talking about their tough childhood. I think cynics would seriously consider mercy killing as viable option for Penelope.

Toxic Affair would be stupid and boring if it wasn’t for one person - Isabelle Adjani. The Actress completely steals the show by her magnificent acting. She proves that for the real actress a five year break means nothing. Isabelle Adjani truly captures all hysterics, mood swings, incoherence and egoism of Penelope. The Adjani’s facial expression is superb, as in «The Story of Adelie H.», you could even call this film «The Story of Adelie H. Ultra Light».

The supporting cast was also good. Michel Blanc portrayed a suicide-fixed loser; Fabrice Luchini hilariously trolls Penelope and Clémentine Célarié portrays Penelope’s girlfriend, who sometimes wants to dump her in the Seine.

Toxic Affair is the perfect example how one great actress could turn stupid film into something watchable and interesting. If you an Adjani’s fan, watch it.

7/10 (+1 for Adjani by applying the legal principle «Any reasonable doubt shall be interpreted in favor of the defendant»)

Bon Voyage!

Comédie-Française!

In the June of 1940 the Maginot Line has been crashed. All Parisians are running to Bordeaux: the government ministers, the scientists, the criminals, the aristocracy, the artists and the German spies. In a span of a few days, the destiny of France will be decided and, meanwhile, the people are trying to figure their way out…

One of the screenwriters – Patrick Modiano – has already written in 1974 the screenplay for Louis Malle «Lacomb Lucien». Back in 1974, this film exploded because it showed the true face of a French society during World War II. Patrick Modiano, in collaboration with four screenwriters, returned to this theme in 2003 and had chosen the most unbelievable genre – a comedy.

If «Lacomb Lucien» was a portart of the French society as the whole, «Bon Voyage!» ridicules the French ruling class. Practically all of the French higher society shown as a bunch of indifferent people, who cares only how to get to Hotel «Splendid». The aristocrats, the government ministers, the business people are even secretly happy about an armistice. It would allow them to come back to Paris and «with Germans we will learn to cooperate».

Under such circumstances, the most unlikely kind of people could become heroes: the criminals, who ran away from a jail and who prevent Germans from obtaining the nuclear bomb. One of the main heroes – an aspiring writer, who was imprisoned because of his love – who got to Bordeaux to sort some thing out with his love. Nevertheless, circumstances forces him to take a direct part into the future of France.

The film got a superb acting for the main and supporting cast alike.

To the most of the heroines, created by Isabelle Adjani, you feel compassion, sympathy; they could touch even the most cynical hearts. The Actress had brilliantly portrayed the greatest women in history: Adelie Hugo, Emily Bronte, Antonieta Rivas Mercado, Camille Claudel, Margarite de Valois. This time Isabelle Adjani uses her splendid talent and magic to create the quintessence of the talentless actress and a truly despicable character. You could even say that Viviane Denvers is anti-Isabelle Adani, If Isabelle Adjani is a great actress and beautiful woman, Viviane Denvers is the third-rate actress with a cute face.

Viviane Denvers is ready to go to bed with anyone who would provide a boost for career, pay for her and protect her. As Hendrik Hoefgen from «Mephisto», Viviane has sold her soul for the cheap glory. In the world of Viviane Denvers there is no place for such words as dignity, loyalty and love. She is ready to set up the person, who truly loves her, and abandon him, like any other useless lover. All her charm is the combination of a third-rate acting: the theatrical crying, the rolling eyes and the constant talking about her sad life. During the course of this film, Viviane loses the last remains of her dignity and she realizes too late that there is no way back. Isabelle Adjani has brilliantly portrayed Viviane’s nullity. You don’t feel any compassion towards her and the final scene clearly shows her future.

Other actors were also brilliant. Gérard Depardieu as the corrupt minister. Peter Coyote as a German spy with the mephistophelean charm to whom Viviane «sells her soul». Virginie Ledoyen as an idealistic young girl, loyal to France and science. Grégori Derangère as an aspiring writer, who becomes a hero. In addition, the legends of French cinema Aurore Clément and Edith Scob has created episodic memorable characters.

Enclosing, let me say that in the June of 1940 comedy, spy flick, melodrama, drama and war movie has met in Bordeaux and the meeting was splendid!

9/10

Violette et François

Life must go on

Violette and Francois don’t care about the future. Violette was fired from the bank; Francois was booted from the real estate agency, when his superiors found out that his best «customer» was Violette. Unfortunately, the young couple has a little son Paul and they have to find a way to make ends meet. Francois loses yet another job; he can’t secure funding for his newspaper, so he decides to become a professional shoplifter. After first failed theft, they decide to get married and on the day of the wedding, Violette agrees to help Francois in the shoplifting business.

The film start as a comedy about two head in the clouds young people with deep conviction that the world is revolving around them. They don’t care about the absence of instant income, the inability to provide decent future to their son. Their affair is the perfect example for the old story of the Lady and the Hooligan. Violette charmed by Francois rebelliousness and by his brilliant and unreal ideas. The first shop theft thrills Violette even more and after some time she decides to assist Francois.

Nothing lasts forever, especially illusions. Violette is the mother and she has to think about the well-being of Paul. She «awakens» after the first failed theft and tries to persuade Francois, for the sake of little Paul, to abandon the life of petty crime. Francois agrees, but then reneges on his promise. Violette has to make a tough choice.

The film shows that Isabelle Adjani is capable of playing not only tragic heroes. The actress has naturally portrayed the evolution of Violette from the infantile and naïve teenager, who got a crush on the Hooligan and ready to condone all of his activities, to the grown woman capable of tough and painful decisions. Jacques Dutronc is also convincing as a careless man, who understood the consequences of his behavior too late.   

Enclosing, Violette and Francois is a sad and tragic comedy. The film is relatively unknown, outside of France, but watching of it was a pleasant surprise.

8/10

L'histoire d'Adèle H.

Those whom the gods wish to destroy they first make mad.

This proverb, wrongly misattributed to Euripides, could easily be attributed to the unrequited love.

Francois Truffaut wanted to film the diaries of Adelie Hugo’s  for seven years. He had constantly changed actresses for the main role, until he saw Isabelle Adjani in «La Gifle». The actress was approved despite the fact that a 19-year old Isabelle Adjani would play a 30-year old woman. 

«The Story of Adelie H.» you could name, in analogy with theatre, a one-person film. Despite the fact that other actors also did a good job, the only actor who draws all attention is Isabelle Adjani.

Isabelle Adjani throws herself completely into Adelie Hugo. She shows every aspect of Adelie’s mental disintegration. The director and cinematographer uses many close-ups in order to show Adjani’s face, her superb facial expression, especially at the final scene in Barbados, when grief-stricken Adelie walks down Barbados with a completely blank face.

Francois Truffaut had chosen the perfect metaphor for progressing insanity of Adelie – nearsightedness. At first, Adelie’s eye vision is correct, but as her possession progresses she see less and less in terms of eyesight and sanity.

Another motive of this film is a contrast. Adelie’s descend into madness is shown by her love interest – Lt Pinson – gambler, lecher and womanizer. Lt’s antipode is the bookseller with certain crush on the main heroine shown as a decent man and who could become her husband. Even casting of Isabelle Adjani is, in some aspects, contrast – such beautiful woman is obsessed with such unworthy man.

«The Story of Adelie H.» has a gloomy atmosphere in a complete contrast with optimism of «Day for Night». The grey town,  the constant sleep drowning of Adelie, the eternal darkness of Halifax, the misery and poverty of Barbados – there is no place for poor Adelie into this cruel and wicked world.

Because of this, you do not feel any falsehood during the watch, compared with many other films. You feel sympathy and compassion towards Adelie and while watching the scene when grief-stricken Adjani cries into the carriage your heart would bleed at least. Every person who loved at least once would find something into this film.

Enclosing, I would like to thank Francois Truffaut for opening Isabelle Adjani’s acting genius to the world audience. I think that after «The Story of Adelie H.», Adjani could have retired from acting because this role has already written her name into the history books. Nevertheless, she had continued her brilliant acting career and has only given joy to her fans all over the world (me included). It is a pity that Isabelle Adjani was passed over for Cesar and Oscar in 1976, but her five Cesars, double prize for the best actress at the Cannes and other innumerable awards are already expecting her.

10/10  

Mortelle randonnée

I've decided to inaguarate this blog by writing review of my favorite Isabelle Adjani film - Mortelle randonee.

In Brussels, a private detective called The Eye, tries many times to find out which girl, from a class photo taken in 1962, is his beloved daughter Marie. Every year he calls his ex-wife Madeleine and calls a different girl on the photo, but always misses. The Eye gets an assignment to investigate the mysterious girlfriend of Paul Hugo – wealthy shoemaker heir. He tracks down Lucie Brentano relatively easy and finds the requested information about her. The next day, he discovers how Lucie is getting rid of Paul Hugo's corpse. Instead of calling the authorities he tracks down the heroine, who is now called Eve Granger, and follows her to Nice…

Most critics say Mortelle Randonnée is the definitive neo-noir, but this film couldn’t be categorized in just one genre. Claude Miller, the talented apprentice of the Nouvelle Vague cinema, who has worked as assistant with Francois Truffaut, Jean-Luc Godard and Jacques Demys, cunningly mixes different genres. Mortelle Randonnée is, one could say, the mix of absurdist tale and noir.

Mortelle Randonnée has a dreamy-like atmosphere: heroine, planning her activities by checking horoscopes, telepathically connecting heroes, supporting characters, which act like a pulp fiction heroes. The Absurdist atmosphere is created, not least, by the Carla Brey soundtrack. Her music sometimes sounds like typical American noir jazz, but sometimes also like absurdist tale symphony.

The Eye at first acts as the angel-guardian of the heroine: gets rid of the bodies, presents her favorite cigarettes, and telepathically tries to warn her against meeting indecent people. An inattentive viewer might believe Isabelle Adjani’s heroine is the long-lost daughter of The Eye. But later The Eye, driven by jealousy, destroys the only chance of happiness for his "daughter" and this leads to the inevitable finale. Catherine Leiris, as we would later know her real name, with her modus operandi of looking for a fatherly figure and killing him, and her later telling stories of her fathers - who are really her ex-victims – reminds us of Anna Karina’s heroines in Godard movies and Truffaut tragic heroines. This film has a strong psychoanalytic tune, especially concerning repetition compulsion and doubles.

Mortelle Randonnée is undoubtedly Michel Serrault benefice, his acting, as The Eye is superb: constant voiceover, self-talking and telepathic advices to his "daughter". Isabelle Adjani gets less screen time but her acting is superb. She shows us a variety of persons: the sweetly naïve student Lucy Brentano, the arrogant top-model Eve Granger, the tragedy-broken Catherine Leiris, and so on. To all those, who say Isabelle Adjani is only fit to play drama queens and a hysterical female, I strongly recommend watching this film. Claude Miller has also included in this film an homage to the Nouvelle Vague, by giving supporting roles to Sami Frey, Guy Marchand, Geneviève Page and Stéphane Audran.

Mortelle Randonnée is an off-the-charts brilliant film and all Jacques Audiard, who has written the script, fans would recognize his style. All those who love French cinema, noir, and especially Isabelle Adjani fans, should immediately watch this masterpiece.

9/10

P.S. Many thanks to Sol Young for correcting my RuEnglish.