Je t'aime moi non plus

We had hoped that Serge Gainsbourg's most well-known film would demonstrate his interesting - if a bit twisted - perspective and style. Unfortunately, by the time "Je t'aime moi non plus" was made, Serge had become an "old fart", to borrow a recurring line from the movie. Instead of the inventive, hip Serge of the 'sixties, pulling musical influences from around the globe and spicing them up with naughty references, he had become the jaded fatalist, using shock value out of habit rather than effect. It would also appear that he had been a bit too influenced by Godard's "Weekend" for his own good. Long tracking shots of the protagonist's truck passing aimlessly through a barren landscape littered with wrecked cars are employed at least four times. What this film and its actors really needed were a plot and some actual dialogue. Birkin, Dallesandro and the rest of the cast do credible jobs with what they've been given to work with, but their doomed love triangle is bog-standard 1950s melodrama, with a gay twist. Absolutely wasted here is Gerard Depardieu, who turns in an awkward and unconvincing cameo as a homosexual beastialist. Thankfully, Gainsbourg still had talent in him as a composer, and the film benefits from his soundtrack. I suspect he was not encouraged to attempt more directorial efforts, as after "Je t'aime..." he only did vanity films.

A decidedly off-beat love story as two characters from the fringe seek love in a wasteland of flesh and garbage, only to find it fleetingly in the back of a garbage truck. Kurant's luminous cinematography and Gainsbourg's leisurely pace do much to bring beauty to scenes that might otherwise be unbearably sordid.

Dallesandro and Birkin are beautiful to look at and play a dysfunctional couple in more ways than one. The film explores the poignancy of emotional need, the vulnerability to abuse and the impossibility of communication within the couple. It's a tale of surprising tenderness and cruelty.

Gainsbourg's soundtrack is surprisingly sparse, but used imaginatively and with more than a hint of irony.

lovely.

JTMNP is for fans of Showgirls, of movies that seek a level of sophistication beyond their reach, and in the process reveal layers of untold truth.

it's second rate, cheesy, silly, extravagant, ribald, shallow. and in that, utterly wonderful. it shows us a time and place that couldn't have been shown to us with an intentional eye.

i'm still 'haunted' by many scenes in the film, by swirling sunny buttocks, and the screams of anal invasion, and the scarf snapping lover of the hero.

watch it if you can find it. serge gainsbourg was france.

While this hard to find gem may not be palatable to the general public, it's a must see for fans of Serge Gainsbourg or those that appreciate a truly twisted love story. The film set somewhere in France is about two gay garbage men one of whom is played by Warhol star Joe Dallasandro, who happen a very young and androgynous Jane Birkin. Dallasandro and Birkin's characters begin a very torrid and complicated love affair. You see, he can only become aroused when taking her from behind. Proving that love can sometimes be painful this original film is not to be missed. Oh, and it has a young Gerard Depardieu riding around naked on a horse.

The story line was intriguing but the film could have been so much better, like with a better script, better actors, better direction etc. Apart from the 'Je T'aime' song, the music in this film is particularly inappropriate. When I think of Joe Dallesandro the word 'wooden' comes to mind, and the others taking part are on a similar level, although Jane Birkin should get a mention for effort. Nothing much happens apart from the garbage truck driver attempting anal sex with the waitress. The question remains, did they finally achieve this satisfactorily in the back of the truck, or had he inadvertently managed to find the right hole? I don't suppose I'll ever know.