The film revolves around a photographer who crashes into a softcore porn film set where he catches the eye of its star as they would long for each other even though she is married to a photo collector whom she’s morally obligated to as she is given a chance to be in a play. It is a film that doesn’t have much of a plot as it’s more about two people in the entertainment industry who are both at a point where they’re unsatisfied and want to do something great. The film’s screenplay by Andrezj Zulawski and its original author Christopher Frank is largely straightforward in its narrative yet it is more about this idea of love as it relates to these two people who are in love with each other but can’t really express it as they have obligations to other things and other people. The photographer Servais Mont (Fabio Testi) would crash a film set to get some photos while he makes money shooting pornography for his benefactor Mazelli (Claude Dauphin) while tending to his father (Roger Blin) who doesn’t have a home as well as visit his mentor Raymond Lapade (Michel Robin) who is dealing with his ailing health.
Upon meeting the B-movie actress Nadine Chevalier (Romy Schneider) whose career has waned to the point that she’s doing softcore porn films is fascinated by Mont and his photography as she is eager to do something other than the movies she’s making for money as well as to fund the photography collection of her husband Jacques (Jacques Dutronc). Mont meets up with the German actor Karl-Heinz Zimmer (Klaus Kinski) and a play director in Laurent Messala (Guy Mairesse) in creating an adaptation of Richard III from a script by Lapade as Mont would give them the money he borrowed from Mazelli in the hopes it would revive Nadine’s career as long as no one knows where the money came from. Yet Jacques would notice something as well as it would play into some troubling events as well as revelations towards his wife and her feelings for Mont.
Zulawski’s direction is stylish in the way he captures the sense of melodrama between two people as it is shot on location in Paris though Zulawski chooses to avoid many of the city’s landmarks. While there are some wide shots in the film, much of Zulawski’s direction involve some unique tracking and hand-held camera shots with a lot of emphasis on intimacy through the close-ups and medium shots. Notably in scenes in hallways as well as restaurants, cafes, and other places where there is this sense of energy that is happening but also a lot of chaos. It also plays into this world of art as Nadine and Jacques’ bedroom is filled with film posters and film memorabilia though there’s no bed except for a mattress on the floor. Zulawski also plays into this world that is also full of debauchery as the pornography that Mont shoots isn’t just filled with a lot of homosexuality but also things that push him to the edge as he ponders if there’s any kind of infatuation or emotion involved in these sexual exploits he’s watching. In Nadine, Mont sees someone who isn’t that kind of extreme but a woman that is desperately need to be loved although Jacques does treat her well.
Zulawski would also play into this unconventional presentation of Richard III that features samurai costumes with Zimmer being this charismatic and intense figure who would help Nadine. Yet, the response to this play isn’t what anyone expects as it leads to this third act where a lot of emotions come into play. Notably as Zulawski’s compositions become more and more invasive to see Mont, Nadine, and Jacques unravel in some way with those associated also realizing their own sense of futility. Even as Mont becomes distant following some personal losses as well as realizing Jacques’ own intentions in relation to Nadine as she becomes this prize for these two men yet neither are interested as she has become troubled over what has happened while also believing that love doesn’t exist. Still, Zulawski would play into this sense of melodrama that looms throughout as it plays into these people who are entangled into a world of desire in both the personal and emotional. Overall, Zulawski crafts a rapturous and exhilarating film about a photographer’s infatuation with a fading B-movie actress.
Cinematographer Ricardo Aronovich does amazing work with the film’s cinematography with its emphasis on heightened lighting in some scenes to play into the look of a photo shoot or a film set as well as some colorful yet natural lighting for many of the film’s interior settings. Editor Christiane Lack does excellent work with the editing as it is largely straightforward with a rhythmic cuts while along shots to linger and only cut for dramatic effect. Production designer Jean-Pierre Kohut-Svelko does brilliant work with the look of the homes of Mont and the Chevaliers as well as the look of some of the photo sets as well as the theater presentation. Costume designer Catherine Leterrier does fantastic work with the costumes as a lot of it is casual with the exception of the flamboyant clothes that Zimmer wears as well as the stylish dresses that Nadine wears.
Makeup artists Didier Lavergne and Massimo De Rossi, along with hairstylist Jean-Max Guerin, do nice work with some of the makeup that the characters wear whether it was for the play or to play into their flamboyance personalities. The sound work of Jean Neny, Maurice Laumain, and Jacques Gerardot is terrific as it is largely straightforward as it plays into the natural atmosphere of the locations as well as how cafes sound when it is busy. The film’s music by Georges Delerue is phenomenal for its soaring orchestral score filled with themes that play into the drama with its usage of string arrangements that also add to the sense of longing and melodrama as it is an absolute highlight of the film.
The film’s wonderful ensemble cast feature some notable small roles from Nicoletta Machiavelli as Lapade’s wife Luce, Katia Tchenko as a whore that is part of Mazelli’s pornographic presentations, Jacques Boudet as a friend of Jacques in Robert Beninge, Gabrielle Doulcet as Mazelli’s wife who is fond of Mont, Guy Mairesse as the play director Laurent Messala who is a flamboyant individual that had unconventional ideas for the play, Roger Blin as Mont’s father who crashes at his son’s home as he laments over his own failures in life, and Michel Robin in a superb performance as Mont’s mentor in writer Raymond Lapade who wrote an adaptation for Richard III while dealing with his ailing health. Claude Dauphin is excellent as Mazelli as Mont’s benefactor who also makes Mont shoot pornographic photos for his own joy as well as be this slimy figure that likes to run things as if it’s a criminal organization with some awful people.
Klaus Kinski is incredible as Karl-Heinz Zimmer as this once revered actor desperate to have a comeback as he also helps out Nadine as Kinski is this intense figure who is openly bisexual as well as be someone who refuses to take criticism as it is one of his finest performances. Jacques Dutronc is brilliant as Jacques Chevalier as a photo collector that is hoping to get some financial opportunities in his wife’s attempted comeback as he is this eccentric individual who is quite funny at times but is also ruthless whenever things don’t go his way as it is this offbeat yet engaging performance. Fabio Testi is amazing as Servais Mont as this photographer who is tired of shooting pornography as he falls for Nadine while funding a play in the hope he can revive her career from afar while still be infatuated with her. Finally, there’s Romy Schneider in a sensational performance as Nadine Chevalier as this once-revered actress now doing B-movies and softcore porn films as she deals with a fading career but also her feelings for Mont but also loyalty towards Jacques as there is this sense of anguish and angst as it is truly one of her most defining performances in her illustrious career.
L’important c’est d’aimer is an outstanding film from Andrezj Zulawski that features a spectacular leading performance from Romy Schneider. Along with its ensemble cast, gorgeous visuals, its study of longing and passion, and Georges Delerue’s intoxicating music score. It is a film that explores two people at a point in their lives and career who want to move forward while also longing for one another despite the turmoil around them. In the end, L’important c’est d’aimer is a magnificent film from Andrezj Zulawski.
Andrzej Zulawski Films: (The Third Part of the Night) – (The Devil (1972 film)) – Possession (1981 film) - (The Public Woman) – (L’Amour braque) – (On the Silver Globe) – (My Nights Are More Beautiful Than Your Days) – (Boris Godunov) – (The Blue Note (1991 film) - (Szamanka) – (Fidelity) – (Cosmos (2015 film))
© thevoid99 2024
Based on the novel The Talented Mr. Ripley by Patricia Highsmith, Plein Soilel (Purple Noon) is the story of a young man who is trying to get his rich friend back to America only for things to go wrong. Directed by Rene Clement and screenplay by Clement and Paul Gegauff, the film is an exploration into a man trying to be part of a world he has no idea about as things eventually go wrong when he becomes jealous and angry. Starring Alain Delon, Maurice Ronet, and Marie Laforet. Plein Soilel is an intriguing yet exhilarating film from Rene Clement.
The film revolves around a young man who is being paid $5000 to bring his rich friend back to America where the task goes wrong in an act of jealousy. It plays into this young man named Tom Ripley (Alain Delon) who is constantly around the son of a rich man who is supposed to return home and live a life of responsibility. Instead, Philippe Greenleaf (Maurice Ronet) just wants to have fun though he treats his girlfriend Marge (Marie Laforet) quite poorly at times where a boat trip with Ripley becomes disastrous due to Philippe’s selfishness as it would set the stage for everything that Ripley would do. The film’s screenplay has a unique structure where the first half is about Ripley’s friendship with Greenleaf as he is trying to get him home. Yet, things become complicated where the disastrous boat trip has Ripley be pushed into a lifeboat and stranded for some time where he gets sunburned only for Marge to be the one that is really concerned as it’s one of many reasons why she leaves the boat trip.
Marge is an interesting character as she is someone who is repulsed by Greenleaf’s treatment of her as well as sleeping around with other women yet she is in love with him as she would wonder about his whereabouts after the boat trip. The film’s second half plays more into the events after the boat trip where Ripley becomes the story as he would roam around Italy as he would pretend to be Greenleaf. It plays into the world of identity as well as an ambiguity into Ripley’s motivations as he would do things to get ahead in the world but also raise suspicion over his actions.
Rene Clement’s direction is mesmerizing as Clement aims for something that feels intimate but also a richness to play into the beauty of the various locations in Italy. Much of it involves Clement’s approach to medium shots and wide shots as the cities are major characters in the film as well as the Mediterranean Sea as the scenes on the boat feature some unique camera angles and compositions that are rich. Clement’s usage of hand-held cameras are also very evident as it plays into Ripley’s own adventure as the close-ups are also interesting as well as the compositions. It adds to the sense of ambiguity into what Ripley is doing as well as some are playing into his façade or know that he is lying. Even as it plays into the idea of whether he would get away with it right to the end. Overall, Clement creates a very thrilling and very intelligent film about a young man who forges a new identity in the wake of a bad boat trip.
Cinematographer Henri Dacae does incredible work with the film‘s rich and colorful cinematography as it pays great attention to detail into the look of the Mediterranean Sea as well as creating some unique lighting schemes and such for some of the interior settings in the film. Editor Francoise Javet does excellent work with the editing as it has an air of style with its usage of jump-cuts and dissolves to play into Ripley‘s own transformation and encounters with the world of the rich. Production designer Paul Bertrand does amazing work with the look of the apartments and hotel rooms that Ripley would stay in as it plays into his own evolution as a character as well as the boat where things would go from carefree to sinister into what Ripley would do.
Costume designer Bella Clement does brilliant work with costumes from the posh and stylish clothes that Greenleaf wears throughout the film as well as the dresses that Marge would wear as it has this air of style and vibrant colors that are fun to watch. The sound work of Jean-Claude Marchetti is terrific for some of the sparse sound work that goes on in the sea as well as the raucous moments in the Italian cities including Rome. The film’s music by Nino Rota is fantastic for its lush, orchestral-based score along with string-based pieces and accordions that play into the world of Italy as it’s one of Rota’s more overlooked scores.
The film’s phenomenal cast includes some notable small roles from Elvire Popesco as a ballet patron Greenleaf and Ripley socialize with, Nicolas Petrov as the ballet Boris, Frank Latimore as a drunk named O’Brien, Ave Ninchi as a woman Greenleaf flirts with in Rome, Barbel Fanger as Greenleaf’s father who appears late in the film, Erno Crisa as Inspector Riccordi, and Romy Schneider as a companion of one of Greenleaf’s friends in Freddy Miles. Bill Kearns is superb as Greenleaf’s friend Freddy Miles as a man who likes to be a playboy and do things that rich young kids do while he later becomes suspicious about Ripley over Greenleaf’s whereabouts.
Marie Laforet is amazing as Marge as this woman who is torn for her hatred of Greenleaf’s playboy lifestyle as well as being in love with him as she becomes close with Ripley as the two cope with Greenleaf’s disappearance. Maurice Ronet is excellent as Philippe Greenleaf as this young playboy who likes to spend his money while avoid responsibility as he mocks Marge’s work as a writer as he is also quite cruel to Ripley. Finally, there’s Alain Delon in a tremendous performance as Tom Ripley as this young man who is asked to retrieve his friend back to America only for things to go wrong as he starts to forge a new identity as it’s a very charming and exquisite performance from Delon.
Plein Soilel is a remarkable film from Rene Clement that features a truly glorious performance from Alain Delon. It’s a film that is presented with such style as well as captivating ideas on identity and what a man is willing to do to play into another man’s lifestyle. In the end, Plein Soilel is a ravishing and rapturous film from Rene Clement.
Rene Clement Films: (The Battle of the Rails) - (Mr. Orchid) - (The Damned (1947 film)) - (The Walls of Malapaga) - (La Chateau de verre) - (Forbidden Games) - (Knave of Hearts) - (Gervaise) - (This Angry Age) - (The Joy of Living) - (The Day and the Hour) - (Joy House) - (Is Paris Burning?) - (Rider on the Rain) - (The Deadly Trap) - (…and Hope to Die) - (Wanted: Babysitter)
Related: (The Talented Mr. Ripley)
© thevoid99 2015
Based on the novel by Franz Kafka, The Trial is the story of a bureaucrat who is accused of a crime he has no clue what he committed as he is targeted by those in society. Written for the screen, directed, and starring Orson Welles, the film is a look into the world of totalitarian society where a man tries to figure out what he did wrong as it leads to all sorts of questions about the way life works. Also starring Anthony Perkins, Jeanne Moreau, Romy Schneider, Elsa Martinelli, and Akim Tamiroff. The Trial is a strange yet visually-astonishing film from Orson Welles.
Set in a futuristic world in an unnamed country, the film revolves around a man trying to figure out why he is being targeted by authorities where he asks questions into what he is charged with. It plays into a world where a man goes into a journey to figure out why he has been arrested as it leads all sorts of strange left turns and places as he has no clue what is going on. Even as his encounter with a trio of women would get him into places he has no idea what is going on as his attempts to seek help become more confusing. Orson Welles’ screenplay definitely plays into the abstract writing style of Franz Kafka where it is more about a man trying to understand a world that he is in and how his life had been defined by playing a role in society where there aren’t any ideas of individualism. Even as characters are people who aren’t exactly as they seem as it plays into the world that Josef K. (Anthony Perkins) is surrounded with.
Welles’ direction definitely plays to not just a sense of style in its homage to film noir but also infuse this very entrancing style of framing and camera angles that is akin to the style of European cinema of the times. Much of the direction plays into the world of Kafka where Josef would go into this journey where he walk into one building and then find himself in a building he knows but wonders how he got there. The direction definitely has this abstract tone not just in some of the compositions where there’s some high camera angles and low ones but also in its use of wide shots. Much of it involves these intricate ideas of framing in the way buildings are presented to make it feel like a futuristic world while Welles’ approach to low angles with its close-ups play into the drama as well as the suspense.
The crowd scenes are also effective to play into this feel of totalitarianism and bureaucracy where Josef K. is someone trying to fit into that world but there’s aspects of him that makes him a very dangerous threat to society. Even as he is forced to play into allegories such as this story that opens the film that Welles narrates as it would have a lot of metaphors for what Josef K. has to go through. Overall, Welles creates a very thrilling and provocative film about a man who is a target for a crime he has no idea what he committed.
Cinematographer Edmond Richard does brilliant work with the film‘s black-and-white photography with its use of lights to play into some of the film‘s dark moods and textures as well as some of the exteriors that add a futuristic feel to its locations. Editors Yvonne Martin and Frederick Muller, with additional and un-credited work from Orson Welles, do amazing work with the editing with its approach to fast-cutting in some of the very intense suspense scenes along with other stylish cuts to play into the drama and suspense. Production designer Jacques Mandaroux does excellent work with the set pieces from the offices as well as the design of the courtrooms and how some of them are strangely connected to one another.
Costume designer Helene Thibault does nice work with the costumes as it‘s mostly casual with the exception of some of the stylish clothing the women wear. The sound work of Guy Villette is fantastic for the atmosphere it conveys in some of the scenes involving crowds as well as the office building that Josef K. works at. The film’s music by Jean Ledrut is superb for its mixture of eerie orchestral music that is mixed in with frenetic jazz music where the former plays into the drama while the latter adds energy to its suspense.
The film’s phenomenal cast include some notable small roles from Max Haufler as Josef’s uncle, Naydra Shore as Josef’s young cousin, Michael Lonsdale as a priest, Arnoldo Foa as a lead inspector who arrests Josef, Fernand Ledoux as a chief law clerk, Suzanne Flon as a mysterious woman dragging a luggage that Josef meets, Madeleine Robinson as the landlady that Josef is friendly with, William Chappell as a mysterious painter whom Josef meets late in the film, and Akim Tamiroff in a terrific performance as a client of a mysterious lawyer. Elsa Martinelli is wonderful as a courtroom guard’s wife who flirts with Josef as she gives him odd answers. Romy Schneider is fantastic as a mysterious lawyer’s mistress named Leni who seduces Josef as she would also bring in some questionable suggestions for Josef’s quest.
Jeanne Moreau is excellent in a small role as Josef’s neighbor Marika Burstner who is a nightclub dancer that is trying to cope with her job as she is aware that she is being evicted. Orson Welles is amazing as the mysterious lawyer known as the Advocate as he is this very strange individual who tries to get Josef to work with him only to make him confused and such. Finally, there’s Anthony Perkins in a pretty good performance as Josef K. where Perkins does bring a lot of energy though he’s sort of miscast as he tends to overact some of his emotions while he doesn’t bring enough gravitas to make his character that compelling.
The Trial is an excellent film from Orson Welles that explores the world of the unknown set in a futuristic society. While it does have some flaws that includes a somewhat weak performance from Anthony Perkins, it is still a very engaging film for the way it explores totalitarianism and bureaucracy as well as presenting it with such style. In the end, The Trial is a superbly rich film from Orson Welles.
Orson Welles Films: Citizen Kane - The Magnificent Ambersons - The Stranger (1946 film) - The Lady from Shanghai - Macbeth (1948 film) - Othello (1952 film) - Mr. Arkadin - Touch of Evil - Chimes at Midnight - The Immortal Story - F for Fake - Filming Othello – The Other Side of the Wind
Related: Orson Welles: The One-Man Band - The Eyes of Orson Welles - They’ll Love Me When I’m Dead - The Auteurs #69: Orson Welles: Part 1 - Part 2
© thevoid99 2014
