Reyes y reina

I was so hoping it would live up to the hype...and it almost does - but you know how it goes with extravagantly praised films.

Desplechin's 1996 "My Sex Life" was brilliant - a rambling, shambling, thoroughly engaging 3 hour trip through the lives of a group of rambling, shambling, lost characters, made by a director looking to pour as much raw life into a film as possible and let the rest sort itself out. He has no interest in a well-knit story....

This somehow doesn't work as well here...what is missing is the "engaging" part. This isn't a matter of his being unable edit himself; it's just characters and their situations just seem less able to cross the divide and touch you.

But i'm all in favor of Desplechin's intentions. This is a director definitely worthy of trust and respect. And can all those critics be wrong? I'm going to see this again.

"My Sex Life" had the benefit of three wonderful actors: Mathieu Almaric, Jeanne Ballibar and Emmanuelle Devos...we need more films from all three. Almaric and Devos return here. He is, as always, terrifically fun to watch. But this is her movie...Emmanuelle Devos seems to be coming into her own now, after years of playing lesser roles (The Beat my Heart Skipped). She is a marvel. Always playing the victim, stoic and long-suffering, and always bringing to this role a huge richness of feeling. She is heart-wrenching here, as she was in "My Sex Life", which she practically stole. And what a remarkable look she has...one moment the ugly duckling, another moment a ravishing beauty. I can't take my eyes off her. A great actress.

Armand Deplechin's "Rois et Reine" offers a lot of different ideas, plots and subplots. Unfortunately, most of them aren't as fully realized as in his other, better made films. Then, the copy that is showing at New York's Lincoln Plaza complex, has a washed out look to it, and the subtitles aren't visible at times. The viewer has to strain the eyes in order to get all what's going on in this complex tale. This is a big problem for foreign films with subtitles that seem to fade in the picture itself. Also, at the session we went there was an annoying group of ladies who, evidently, must have been watching another film, as they kept laughing at times when they should have remained silent.

At any rate, this is a complex film that seems to have a lot of influences, mainly mythological and even it has shades of Shakespeare's King Lear. At two hours and forty minutes in length, the film could have used some badly needed trimming. It appears M. Desplechin don't know when to cut some of the things one sees in different sequences that could have been helped with the principle that "less is more".

One thing the director can't be blamed for is the wonderful performances he gets from all his actors, especially, the luminous Emmanuelle Devos, who does an amazing work portraying Nora, the woman at the center of the story. Also good, Mathieu Amalric, who is Ismael, the man that connects a lot of different points to the story. Maurice Garrel, as Nora's dying father is compelling. Valentin Legong as little Elias is also a great asset.

Let's hope M. Desplechin new venture will be a bit tighter in his future work.

There is SO much going on in this film, but it has rhythm, pace, a great soundtrack, and enjoyable, charismatic performances, that kept me engaged from the word go. The editing owes something to 60s Godard - lots of jump cuts in the dialogue scenes - and 80s Rohmer - anguished 30 somethings worrying about true love - and possibly, in its tour de force final sequence, a reference to La Jetee, which is also of course about memory, fate, and mortality. And then there is the rather bizarre Audrey reference which opens the film: as Nora steps out of a black car, clutching her morning coffee, clothed in black, her hair wound up on her head, the strains of Monn River sound. So far, so post-modern. This is is a film that is freighted with filmic, literary, theatrical (esp Shakespeare and the Tempest) and artistic allusions, but that uses these in service of a specific point: that these cultural references and allusions make the web of our being - that art is how we communicate to each other (notice that all the characters communicate through art - the gift Nora gives her father, the music Ismael dances to, the book the father writes - even the 'murder scene' is filmed through a highly stylised mise-en-scene): that 'artifice' can reveal the deepest and most moving of human emotions. It is a beautiful film that will move you and make you leave the cinema feeling transported. And Deneuve is just great! I love the bit where Ismael asks her if anyone has ever told her she's beautiful, and she gives a slight twist of her lips, sighs, and says, yes, she has heard that before. Just because something has become cliché, doesn't mean it's not true.

The death of a loved one is never pretty, but may be particularly hard in our atomic age; the news of an ailing relative is a bolt from the blue, external to our everyday lives. And unlikely people can make good parents, exactly because being a good parent is not something you achieve by following instructions. These are the sort of thoughts provoked by watching 'Kings and Queen', a French movie about a woman with a dying father, a mad ex-lover and a teenage son. There are definitely some perceptive moments, but overall, the film is a bit uneven; the two halves of the plot (one centred on the woman and her father, the other on her ex) are quite disconnected and also distinct in tone: the former cool and reflective, the latter somewhat riotous; although they come together at the end, this doesn't quite feel like a necessary ending, while other plot lines (such as one centred on the lead character's sister) are not developed. Still, I liked the movie's insight into the selfishness of modern lives and attitudes, which fall short of evil but lie exposed as inadequate under duress: there's a message in this which many could heed.

"Rois et reine" aka "Kings and Queen" (2004) directed by Arnaud Desplechin is a most unusual film that mixes expertly comical and tragic, unbearable and optimistic, life and death that are intertwined in the story of two former lovers whose lives have crossed once more when they least expected. Nora (Devos) has to take care of her dying father. Ismael (Almaric), a talented but neurotic musician (Roman Polansky + Woody Allen) is mistakenly committed to a mental hospital under the care of a clinical psychiatrist, forever young and still the most beautiful woman in the world, Catherine Denueve. ("Do you know that you are very beautiful"? - asked Ismael. "I've been told", smiles she). I still think about the movie - the complicated relationships between one woman and several men in her life - how much she affected them, sometimes, with tragic consequences. This is also the movie about perception - how big is the difference between the way we see ourselves and the others see us and what they think of us in reality. It is a movie about love - is it always blind? Is it possible to love deeply and see with the clear eyes? I was totally engrossed and heartbroken by some scenes involving Devos's caring for her dying father, by the flashbacks that tell about her relationship with the father of her son, and next minute I was laughing out loud following the Almaric's ordeal in a mental hospital and his attempts to escape. The movie could've been a gem but it is too long, has too many characters that were perhaps very interesting but I never knew what happened to them and it could be confusing due to its broken narrative which was OK by me but the final result even compelling and memorable was not completely satisfying. Both Mathieu Almaric and Manu Devos are marvelously talented actors and they were the main reason that overlong and confusing movie worked. I hope to see both Almaric and Devos in many more movies. I remember Devos since the first movie I saw her in - "Sur Mes Levres" and I knew then that she had all potentials to become a great actress. Her acting in "Rois et reine" confirmed my first impression.