Originally Written and Posted at Epinions.com on 12/18/08 w/ Additional Edits.
Written and directed by Christophe Honore, Les Chansons d'Amour (Love Songs) is the story of a young couple who bring in a young woman into their lives. A threesome occurs as things become complicated as it's all told through song. A mix of tragedy, humor, and romance, the film is a tribute to the French New Wave as well as something upbeat with most French films often driven by cynicism. Starring Louis Garrel Ludivine Sagnier, Chiara Mastroianni, Clotilde Hemse, and Gregoire Leprince-Ringuet. Les Chansons d'Amour is an excellent film from Christophe Honore.
A young man named Ismael (Louis Garrel) is in love with Julie (Ludivine Sagnier). Ismael is also in love with Alice (Clotilde Hemse) as all three embark on a threesome that all three seem to be into. Yet, Julie is starting to be tired from the threesome as Ismael and Alice are also working together. During a breakfast with Julie's parents and two sisters, Julie and Ismael attend where Ismael entertain the family. Yet, Julie reveals to her older sister Jeanne (Chiara Mastroianni) about the threesome as her mother (Brigitte Rouan) listens as well. After eating dinner at a bar with Alice, Ismael and Julie go with Alice to a concert as on the way. Alice reveals that her role in the relationship was to bring them together. At the concert, Alice meets a guy named Gwendal (Yannick Renier) but Julie feels ill where something horrible happens.
Now alone, Ismael is confused on what to do as Jeanne arrives at the apartment to pick up Julie's things. With Ismael at work, his relationship with Alice has changed where she's now living with Gwendal and his little brother Erwann (Gregoire Leprince-Ringuet). Erwann is attracted to Ismael though Ismael isn't sure about this as he befriends him. With Jeanne now living at his apartment for a while, Ismael hangs out with Erwann though still haunted by the memory of what happened to Julie. During a lunch with Julie's family, it's been revealed that Ismael has inherited some money which he refuses to take. After a one-night stand with a bartender named Aude (Annabelle Hettman, Ismael learns that Jeanne is at the apartment still wanting to talk to him.
With Alice wanting to break up with Gwendal, she is convinced that she's followed by Erwann but is really following Ismael. Unsure of Erwann's intentions, he decides to continue the friendship as they grow close. When Alice gets contacted by Julie's mother and sister Jasmine (Alice Butaud), they wanted to know what was going on in Julie's relationship with Ismael. When Jeanne learns of how Ismael is coping, she confronts Ismael about what happened with Julie where Ismael is trying to figure out what went wrong as well.
The film is about the impact of a threesome between a young man and two women and the aftermath of how the young man tries to cope with the loss of one woman. When the other pulls away to form a relationship of her own with another man, the character of Ismael goes into a period of grieving and just trying to figure out where to go to next. All of this is done in song as several characters sing to convey what they're feeling and such. The approach is done naturally thanks in part to Christophe Honore's direction where it feels natural instead of staged. With his hand-held approach, on-location shooting, and compositions reminiscent of the French New Wave style. Though it's not perfect due to a few pacing issues and plot-staging. Honore does create a film that is truly entertaining and full of life despite its thematic tone towards tragedy.
Cinematographer Remy Chervin does excellent work with the film's colorful shots of Paris in the day and nighttime in its exterior settings along with wonderful blue-like shots of some of the film's interiors and soft lighting to convey the haunting tone of the film. Editor Chantal Hymans does a fabulous job with the film's editing, notably with speeding some scenes for humor along with cutting to play up to the film's musical tone as his editing is a highlight. Production designer Samuel Deshors and art director Emmanuelle Cuillery do an excellent job with the film's look for the home of Ismael and Julie along with the place Ismael and Alice works at. Costume designer Pierre Canitrot does a wonderful job with the film's costumes with the stylish dresses that Ludivine Sagnier wears to the suits that Louis Garrel wears along with the more youthful yet stylish clothes that Gregoire Leprince-Ringuet wears.
Sound editors Valerie Deloof and Agnes Ravez along with recordist Jean-Alexandre Villemer do excellent job in capturing the sound in its location as well as the vocal performances of the actors. The film's original music by Alex Beaupain is a wonderful mix of pop, rock, and ballads as all the actors do their own singing with the sultry Ludivine Sagnier bringing a breathy quality to her vocals with Chiara Mastroianni having a raspier quality that's reminiscent in the vocal style of her mother Catherine Deneuve. Louis Garrel had a more straight quality that works as someone who isn't a great vocalist in the traditional sense but managed to bring the emotional despair needed for those songs.
The cast is definitely filled with memorable performances from Jean-Marie Winling as Julie's father, Yannick Renier as Gwendal, Annabelle Hettman as Aude, and Alice Butaud as Julie's sister Jasmine. Brigitte Rouan is good as the concerned mother of Julie who wonders about Ismael's own emotional state in the aftermath of what had happened. Gregoire Leprince-Ringuet is wonderful as Erwann, the young man who has a thing for Ismael as he tries to flirt with him and such. Clotilde Hemse is very good as Alice, the third woman in the relationship who is the bridge between Julie and Ismael. Yet when that ends, she tries to move forward while providing some insight to Julie's family about that relationship.
Chiara Mastroianni is great as Julie's older sister Jeanne who is having an affair of her own, while dealing with loss and Ismael's behavior. Ludivine Sagnier is wonderfully divine as Julie, the woman of Ismael's life who feels frustrated as she tries to question about the status of her love life. Finally, there's Louis Garrel in a brilliant performance as Ismael. The protagonist who deals with loss and his own existential crises as Garrel brings a great sense of humor, charm, and subtlety to his performance.
Les Chansons d'Amour is an excellent and entertaining film from Christophe Honore featuring a superb performance from Louis Garrel. Fans of youthful, vibrant French films will enjoy it for its entertainment, bending of genres, and thematic tone. The film also has something for film buffs in its ode to the French New Wave while Louis Garrel is clearly becoming one of France's best young and rising talents in his work with Honore, Bernardo Bertolucci, and Francois Ozon among others. In the end, for a film with some excellent songs, musings on life, and that is entertaining. Les Chansons d'Amour is the film to go check out.
Christophe Honore Films: (Nous deux) - (Close to Leo) - (Seventeen Times Cecile Cassard) - (Ma Mere) - (Dans Paris)- (La Belle Personne) - (Making Plans for Lena) - (Man at Bath) - (The Beloved (2011 film))
© thevoid99 2014
Directed by Alain Corneau and written by Corneau and Natalie Carter, Crime d’amour (Love Crime) is the story of two women working at a multi-national corporation who embark into a sick game of one-upmanship as it gets more humiliating and darker. The film is an exploration into the world of business and how two women try to outdo one another in order to get to the top. Starring Kristin Scott Thomas and Ludivine Sagnier. Crime d’amour is a thrilling yet engaging film from Alain Corneau.
The film is a look into the world of multi-national corporations where a top executive and her protégé do whatever to make it to the top. Yet, the young woman known as Isabelle (Ludivine Sagnier) finds herself not only doing the work of her boss Christine (Kristin Scott Thomas) where Isabelle gets no credit for her hard work. Christine would then further the humiliation by playing nasty pranks on her that would involve moments of blackmail as Isabelle would try to counter that with a few deals of her own. Eventually, things would get out of control under Christine’s world forcing Isabelle to take more drastic actions that would go into various extremes. It’s a film that plays into that cruel and unforgiving world of corporate mud-slinging where those like to humiliate colleagues emotionally and mentally. Even as it would force one woman to do things that is unexpected.
The film’s screenplay has a unique structure where the first act is about Christine’s cruel persona and how she treats Isabelle though there’s time where Christine tries to help Isabelle be a better person. Even when it comes to charming other executives and such to make a deal which Isabelle does succeed at but at her own terms. Adding to this unique relationship between the two women is the fact that both are sharing the same man in a lawyer named Philippe (Patrick Mille) who finds himself in trouble with Christine over some secret finances where he breaks off his relationship with Isabelle. This would lead into this second act of Isabelle not only falling apart emotionally and mentally but also try to see how she can try to beat Christine in this twisted game. It would go into this very strange third act where it is about actions but also what really happened as police investigators get involved and such.
Alain Corneau’s direction is quite engaging for not just some of the compositions that he creates but also in the way he presents the suspense and drama that is played out. Notably as Corneau would often put both Christine and Isabelle in the same frame sometimes at the edge of the frame or close together to display this sense of power struggle between the two women. There’s also moments where there is this mix of suspense and drama that includes this scene where Christine holds a party and shows a video of other colleagues in humiliating moments based on video footage as well as that moment of Isabelle feeling humiliated by one of Christine’s nasty pranks. It would then turn the film into a thriller where it would see what Christine would do as Corneau would create ideas of what might’ve happened or what really happened to create this ambiguity. While it’s shot largely in Paris, it plays into this very chaotic world of corporate businesses and mud-slinging as well as some scenes set in suburbs to showcase the different world that Christine and Isabelle live in. Overall, Corneau creates a fascinating yet intriguing film about ambition, greed, and deception.
Cinematographer Yves Angelo does excellent work with the cinematography from the bright yet cold look of the corporate environment the characters live in to some of the more stylish lights for some of the film‘s nighttime interior and exterior scenes as well as some black-and-white shots for the ideas of what might‘ve happened. Editor Thierry Derocles does amazing work with the editing in not just building up the suspense but also play into some of the drama with a few rhythmic cuts and montages to see how some of the events might‘ve happened. Production designer Katia Wyszkop and set decorator Gerard Marcireau do brilliant work with the look of the offices and the homes of Christine and Isabelle.
Costume designer Khadija Zeggai does wonderful work with the costumes from the more posh clothes that Christine wears to the more upper-middle class yet youthful look of Isabelle. The sound work of Jean-Paul Mugel is terrific for its low-key atmosphere as well as play into a few moments in some of the social events the characters go to. The film’s music by Pharoah Sanders is fantastic as it doesn’t appear quite often except in some key moments where it has this intoxicating mix of orchestral music mixed in with some Japanese string music to play up the suspense and drama.
The casting by Gerard Moulevrier is superb as it features some noteworthy small performances from Marie Guillard as Isabelle’s sister Claudine, Guillaume Marquet as Isabelle’s loyal assistant Daniel, Gerald Laroche as the lead police investigator Gerard, and Patrick Mille as Philippe who is in the middle of this love triangle where he would do things that would cause trouble. Kristin Scott Thomas is phenomenal as Christine as she plays the role of conniving bitch to the fullest while having a sense of dark charm to her role as she’s very cunning as well as manipulative as it’s definitely one of her finest performances. Ludivine Sagnier is remarkable as Isabelle as a young woman who aspires to do good and even impress Christine only to be driven into madness as she tries to out-do Christine where Sagnier brings a lot of anguish and chilling body language to play a woman who is seemingly losing her mind.
Crime d’amour is a sensational film from the late Alain Corneau that features riveting performances from Ludivine Sagnier and Kristin Scott Thomas. It’s an exciting film that refuses to play nice while also embracing its nastiness as it explores the world of greed, ambition, and manipulation to some great extremes. In the end, Crime d’amour is an exhilarating film from Alain Corneau.
Related: Passion (2012 film)
© thevoid99 2013
Directed by Francois Ozon and written by Ozon and Emmanuele Bernheim, Swimming Pool is the story about a murder-mystery novelist who travels to the French countryside to stay at her publisher’s house as she gets an unexpected visit from his outgoing daughter. The film is an exploration into the different generation gaps between two women as well as the similarities they have as one woman is trying to create a novel. Starring Charlotte Rampling, Ludivine Sagnier, and Charles Dance. Swimming Pool is a provocative and seductive film from Francois Ozon.
Seeking inspiration is something a writer must have when it comes to creating new material as the film is in some ways is about a famous British murder-mystery novelist in Sarah Morton (Charlotte Rampling) who is trying to write the next novel of her series involving a detective. Yet, she’s a woman who is unhappy with the outcome of some of her work while having to compete with younger writers who can the attention of her longtime publisher John Bosload (Charles Dance). By taking his offer to stay at his villa in the French countryside to work and relax, she soaks up the chance to enjoy a sense of peace until she gets the unexpected arrival of Bosload’s daughter Julie (Ludivine Sagnier) who causes trouble. Despite the tension between the two very different women, the two women do give something to each other where Sarah finds a muse while Julie gets someone to help after a night with a man has gone wrong.
The screenplay is definitely a thriller of sorts but acts more as a drama where it is about these two women sharing a villa as they don’t really know each other or want to do anything with each other. Especially since Sarah is a woman who had done her time as a young woman as she’s now middle-aged, bitter, and being usurped by younger writers. Julie is a young woman who is wild, likes to swim in the nude, have sex with various men, and is not afraid to get into a physical fight. Still, there is intrigue between the relationship of these two women where they share a few stories as well as interest towards a café waiter (Jean-Marie Lamour).
While the first two acts is about the relationship of these two women, the film’s third act is where the suspense comes in as it relates to not just a murder but also how to hide it as well as revelations about Julie’s mother whom her father had been estranged from for so many years. It would help play into the relationship between Sarah and Julie as the latter has been in need of a maternal figure. Yet, it would all help play into Sarah’s search for inspiration though its ending is very ambiguous as it ends up raising a lot of questions into what might’ve really happened.
Francois Ozon’s direction is quite straightforward for the most part in the way he presents scenes set largely in Southern France with a few scenes shot in London. Still, there is a degree of style to the way Ozon shoots some of his close-ups and medium shots to get his two leads into a frame. Even in playing up the element of suspense. There is also a sensuality to the film that can be quite serene at times but also a bit confrontational such as a scene of Julie lying on a chair outside as the café waiter stares at her as the two would masturbate to themselves. Yet, it is done with an air of subtlety that doesn’t make too graphic with the exception a different scene between Julie and the waiter in a pool. The film’s suspense has an air of mystery though its ending creates this ambiguity into whether anything that happened really happened as it mixes the idea of fantasy and reality. Overall, Ozon creates a very intoxicating and exhilarating film about mystery and the art of writing.
Cinematographer Yorick Le Saux does brilliant work with the film‘s very lush cinematography for many of the scenes set in France during the daytime while using more stylish lighting schemes for the scenes at night in its interior and exterior settings. Editor Monica Coleman does wonderful work with the editing to create some methodical cutting and stylish montages for its suspenseful moments along with some rhythmic cuts for a few of the film‘s dramatic moments. Production designer Wouter Zoon does excellent work with the look of the villa that Sarah stays at as well as a few places in France as well as the office of John Bosload.
Costume designer Pascaline Chavanne does nice work with the costumes from the more casual yet tightened clothes of Sarah to the more exotic look of Julie with the clothes and swimsuits she wears. The film’s sound by Benoit Hillebrant, Lucien Balibar, and Jean-Pierre Laforce is terrific for the way it creates an atmosphere in some of the quieter moments as well as some of the chaos for the scenes with Julie whenever she‘s partying with another man. The film’s music by Philippe Rombi is very evocative with its low-key yet playful piano-driven score for most of the film while intensifying things a bit for its suspenseful third act.
The casting by Antoinette Boulat is superb as it features a small ensemble with appearances from Frances Cuka as a fan that Sarah meets on the train, Sebastian Harcombe as a young writer Sarah has to compete with, Marc Fayolle as the villa’s gardener, Mirelle Mosse as the gardener’s daughter that Sarah meets late in the film to ask about Julie’s mother, and Jean-Marie Lamour as the café waiter Sarah meets early in the film who is entranced by Julie. Charles Dance is terrific as Sarah’s publisher John Bosload who gives Sarah the chance to stay at her home while is a man who is hoping for Sarah to deliver another hit novel so he can make more money.
Finally, there’s the duo of Charlotte Rampling and Ludivine Sagnier as they both give exquisite performances in their respective roles as Sarah Morton and Julie. Sagnier brings a liveliness to her role as a very vivacious young woman who isn’t afraid to appear nude as she uses her sexuality to get what she wants while exemplifying all of the attributes of a young woman who seems very troubled. Rampling is more reserved as Sarah by displaying someone who is lost and bitter as she craves for some peace while also showing she’s also a bit funny as well as being sexy for someone of her age.
The 2003 Region 1 DVD from Focus Features is released in two version in a theatrical and unrated cut where the latter shows more nudity and sexually explicit content. Presented in its 1:85:1 theatrical aspect ratio with 5.1 Surround Sound for English and French along with DTS sound and subtitles in English, French, and Spanish. The DVD’s extras includes a trailer for the film as well as trailers from other releases from Focus Features. Another extra that is included are four deleted scenes which all relates to Sarah in a scene where she arrives along with a scene walking around the locations, reading a book, and a conversation with Bosload on the phone.
Swimming Pool is a ravishing film from Francois Ozon that is highlighted by the performances of Charlotte Rampling and Ludivine Sagnier. The film is definitely not just one of Ozon’s accessible films but also one of his more defining works in the way he brings intrigue and sensuality into an entire film while playing up the idea of what goes in the world of suspense. In the end, Swimming Pool is a remarkable film from Francois Ozon.
Francois Ozon Films: See the Sea - Sitcom - Criminal Lovers - Water Drops on Burning Rocks - Under the Sand - 8 Women - 5x2 - Time to Leave - Angel (2007 film) - Ricky - The Refuge - Potiche - In the House - Jeune & Jolie - (The New Girlfriend) - (Frantz (2016 film)) - (Double Lover) - (By the Grace of God) - Summer of 85 - (Everything Went Fine) - (Peter von Kant) - The Auteurs #33: Francois Ozon
© thevoid99 2013
Based on the play Huit Femmes by Robert Thomas, 8 Femmes is a who-dun-it set during the Christmas holidays at the French countryside as a matriarch, her mother, her sister, her two daughters, her two maids, and her sister-in-law are all suspected of killing the man of the house as they’re force to reveal secrets and in song. Directed by Francois Ozon and screenplay by Ozon and Marina de Van, the film is a mixture of the colorful melodramas of Douglas Sirk with the mysteries of Agatha Christie with a bit of the musical told in the film. Starring Catherine Deneuve, Isabelle Huppert, Danielle Darrieux, Fanny Ardant, Emmanuelle Beart, Virginie Ledoyen, Ludivine Sagnier, and Firmine Richard. 8 Femmes is an exhilarating yet entertaining genre-bending film from Francois Ozon.
The film is essentially a quirky take on the who-dun-it that mixes suspense, comedy, melodrama, and the musical all into a mish-mash of fun where eight women ranging from different ages and such all try to figure out who killed the man in the house as they’re all suspects. Throughout the film, family secrets are unveiled as tension come ahead between the eight women in the story as well as an act of defiance from the two maids who are upset over the way things are handled. Adding to the chaos is the unexpected visit of the man’s sister Pierrette (Fanny Ardant) as she helps stir the pot where she and the seven other women start to figure out who did what as they also sing a song in turn to express their own feelings and such.
The screenplay by Francois Ozon and Marina de Van definitely takes it time to play with the expectations of a who-dun-it as they also explore the dysfunctional relationship between this group of women as it involve the man’s wife Gaby (Catherine Deneuve), her uptight sister Augustine (Isabelle Huppert), her wheelchair-bound mother Mamy (Danielle Darrieux), and her two daughters in Suzon (Virginie Ledoyen) and Catherine (Ludivine Sagnier). Then there’s the two servants in the longtime cook Madame Chanel (Firmine Richard) and the new chambermaid Louise (Emmanuelle Beart) as they observe everything while they become suspects over their motives and some secrets that they carry. Eventually, more secrets are unveiled as well as clues into who killed the man known as Marcel. The screenplay also plays with the structure of the suspense where it does give one character a reprieve of sorts as she is no longer a suspect allowing the others to figure things out.
The screenplay also plays into many things such as equality, homosexuality, and repression as these eight women all want something just as they are all dealing with themselves and their relationship with Marcel. The songs that are chosen for the film for each character reveal a lot into who these women are as well as what they have to say. It also helps play into some of the emotional aspects of the story that adds a layer to the melodrama.
Ozon’s direction definitely recalls a lot of the visual motifs of Douglas Sirk in terms of staging and framing as well as the meticulous attention to detail in every set piece. From the way Ozon creates an atmosphere in his framing to how he is willing to let things loose in the humor and drama. Even in the musical moments where some of it is choreographed while some of it is presented in a simple manner. Ozon does use some unique framing devices to present these musical numbers in the way he place the actors in a frame or have them be in the background for someone’s musical number with the help of choreographer Sebastian Charles. There is something intoxicating to the way Ozon presents the film as it plays as a theater piece but also take his time to subvert these moments for everyone to play loose. Overall, Ozon creates a very delightful and compelling who-dun-it that is presented in song and in humor.
Cinematographer Jeanne Lapoirie does exquisite work with the film‘s colorful cinematography to create a sense of beauty as a lot of it is shot inside the house where Lapoirie uses some gorgeous lighting schemes for some of the musical numbers as well as the dramatic moments. Editor Laurence Bawedin does excellent work with the editing to capture some of the intensity of the drama and the rhythm of the musical numbers. Production designer Arnaud de Moleron and set decorator Marie-Claire Quin do amazing work with the set pieces with its attention to detail in the carpets and the presentation of the main room as it is definitely a highlight of the film.
Costume designer Pascaline Chavanne does brilliant work with the clothes as Chavanne designs a lot of specific clothing for each women to wear to display their personalities. Sound editor Benoit Hillebrant does nice work with the sound to capture some of the sound effects in the film to help maintain the air of suspense. The film’s music by Krishna Levy is wonderful for its lush orchestral score that recalls some of the sweeping musical styles of Bernard Herrmann. Music supervisors Amelie de Chassey and Delphine Mathieu do fantastic work with the selection of the songs as they go for pop for the songs sung by Catherine, Suzon, and Louise as well as more mid-tempo pieces for Gaby and Pierrette while Antoinette, Madame Chanel, and Mamy are given ballads.
The casting by Antoinette Boulat is marvelous for casting a great array of actresses to appear in the film as they span countless generations and periods. With Dominique Lamure only making a brief appearance as Marcel though he doesn’t show his face, the film definitely belongs to these women. Ludivine Sagnier is wonderful as the youngest in Catherine who is full of energy while Virginie Ledoyen is superb as the older sister Suzon who is carrying a secret of her own while dealing with all of the family chaos. Firmine Richard is great as the family cook Madame Chanel who is the most reserved character of the group as well as the one person who knows more than everyone else. Emmanuelle Beart is remarkable as the chambermaid Louise who is quite defiant in her role while having some secrets of her own as it concerns Marcel.
Danielle Darrieux is excellent as the family matriarch Mamy as a woman who claims she couldn’t walk as she’s often full of lies as well as being greedy. Fanny Ardant is amazing as Pierrette who makes a surprise visit to the house as she is definitely someone in a bit of control as she also has a real standout moment with her musical number. Isabelle Huppert is brilliant as Antoinette who represents a woman who is uptight and repressed as she is the most dramatic as well as being very funny. Catherine Deneuve is just divine as Gaby as a woman dealing with all of the chaos while facing herself and her own troubled relationship with her husband.
8 Femmes is an incredible film from Francois Ozon. Armed with a brilliant ensemble cast of some of France’s finest actresses as well as amazing technical work. It’s definitely a film that plays to the who-dun-it genre while doing it in song to create something that is full of joy and goes all out to entertain. In the end, 8 Femmes is a phenomenal film from Francois Ozon.
Francois Ozon Films: See the Sea - Sitcom - Criminal Lovers - Water Drops on Burning Rocks - Under the Sand - Swimming Pool - 5x2 - Time to Leave - Angel (2007 film) - Ricky - The Refuge - Potiche - In the House - Jeune & Jolie - (The New Girlfriend) - (Frantz (2016 film)) - (Double Lover) - (By the Grace of God) - Summer of 85 - (Everything Went Fine) - (Peter von Kant) - The Auteurs #33: Francois Ozon
© thevoid99 2013
Based on a play by the legendary German filmmaker Rainer Werner Fassbinder entitled Tropfen auf heisse Steine, Gouttes d’eau sur pierres brulantes (Water Drops on Burning Rocks) is the story of a young man who meets an older man as they fall in love only for the relationship becomes complicated as two other women take part in this strange, unconventional relationship driven by this middle-aged man. Written for the screen and directed by Francois Ozon, the film is a look into how a young man and those around him are entangled into the web of a much older man who seems to dominate every aspect of their relationship. Starring Bernard Giraudeau, Malik Zidi, Ludivine Sagnier, and Anna Levine. Gouttes d’eau sur pierres brulantes is a witty yet stylish film from Francois Ozon.
The film is the story about a young man named Franz (Malik Zidi) who meets a middle-aged businessman named Leopold (Bernard Giraurdeau) in Germany as they engage into a romantic relationship. Yet, Leopold’s hold on Franz has left the young man anguished as he later receives a visit from his former fiancee Anna (Ludivine Sagnier) who comforts him until Leopold returns from a business trip with a former lover in Vera (Anna Levine) who was once a man who became a woman. Under Leopold’s sense of control and charm over the women, Franz finds himself disillusioned over Leopold’s idea of love. Told in four acts as if it was in a play as it’s all set inside an apartment in Germany, the film explores this young man’s relationship with a middle-aged businessman where his ideas of love and happiness are met with a world that is dark and cynical.
The screenplay by Francois Ozon explores the world of sexual interplay and romance as it involves a young man’s desire to gain experience under the wing of this older man. Yet, Franz becomes intrigued by Leopold where the two fall in love in the first act as Franz leaves his old life to be with Leopold yet things take a dark turn in the second half once Franz has to deal with Leopold’s compulsive yet controlling behavior while Franz later has his first glimpse of Vera who asks for Leopold though he wasn’t available. The second half when it goes into the third act reveal Franz’s anguish as he tries to find a life outside of Leopold only for things to go wrong until Leopold is out on a business trip and Anna arrives to visit where they re-kindle their love until Leopold’s return who also brings in Vera. There, things get complicated and problematic where Vera reveals to Franz a lot about Leopold and the chaos he brings to the people in his life.
Ozon’s direction is very stylish as he doesn’t spend a lot of time moving the camera around very much yet still maintains an air of beauty in his compositions. Even in the way he frames his actors in a scene while using a lot of repetition in certain scenes of the way he ends each act with the exception of the film’s finale. While Ozon injects some melodrama into the story in the way the characters deal with their situation, it is all told in a style that is similar to a play. While there is a moment in the film where the characters do break out of that sense of staging, it is still about that study of dominance and manipulation. Even as it would lead to dire consequences for some of the characters. Overall, Ozon creates a very provocative and mesmerizing film about love and deceit.
Cinematographer Jeanne Lapoirie does brilliant work with the film‘s lush photography from some of the look of the main living room with its dark colors and low-key lighting to some of the most gorgeous lighting for some daytime scenes in Leopold‘s bedroom. Editors Laurence Bawedin and Claudine Bouche do terrific work with the film‘s editing as it‘s mostly straightforward in some parts while it uses jump-cuts to create some interesting dramatic montages. Production designer Arnand de Moleron and set decorator Valerie Chemain do amazing work with the film‘s look of the apartments to complement the dark mood of Leopold where it seems comfortable but also chilling.
Costume designer Pascaline Chavanne does nice work with the costumes as it‘s all very stylish in the clothes the men wear as well as the one the women wear. Sound editor Benoit Hillebrant does some very good work with the sound to capture the sense of intimacy that occurs in the scenes at the apartment. The film’s soundtrack contains a mix of music featuring some somber orchestral pieces from Gustav Mahler, Giuseppe Verdi, and George Frideric Handel as well as pop songs by Francoise Hardy and Tony Holiday.
The casting by Antoinette Boulat is superb as it features only four principle actors for this film where Anna Levine is wonderful as the melancholic Vera who is aware of Leopold’s deceit as she couldn’t help herself but be drawn to him. Ludivine Sagnier is excellent as Anna as a young woman who is trying to get Franz back in her life while being charmed by Leopold. Malik Zidi is terrific as Franz as a young man troubled by the relationship he’s taken upon himself in while trying to hold on to the idealism of love that he craves for. Finally, there’s Bernard Giraudeau in a brilliant performance as Leopold as he’s a man that is full of charm and wit but also someone who is quite controlling in his demeanor as he can change behaviors to suit what he craves for.
Gouttes d’eau sur pierres brulantes is a stellar film from Francois Ozon. While it may not have some of the more darker elements of some of his more well-known films. It is still an intriguing one for the way he takes an unreleased play by Rainer Werner Fassbinder to explore the world of sexual dynamics and desire. In the end, Gouttes d’eau sur pierres brulantes is a pretty good film from Francois Ozon.
Francois Ozon Films: See the Sea - Sitcom - Criminal Lovers - Under the Sand - 8 Women - Swimming Pool - 5x2 - Time to Leave - Angel (2007 film) - Ricky - The Refuge - Potiche - In the House - Jeune & Jolie - (The New Girlfriend) - (Frantz (2016 film)) - (Double Lover) - (By the Grace of God) - Summer of 85 - (Everything Went Fine) - (Peter von Kant) - The Auteurs #33: Francois Ozon
© thevoid99 2013
