DAW-8

I first saw this film around 2002 out of curiosity, at a time when so many rare and obscure titles were being re-released. Whereas then I found it mainly interesting as one of those films that is alienating in its cacophony of languages, locales and characters, watching it again I realized what a real masterpiece it actually is. The first part is absolutely some of the most interesting 10 minutes of film I have ever seen. We watch as Nicholson's character moves about in an unnamed African country--no place particularly identifiable--not sub-Saharan, but not North African--and his encounters with a range of characters young and old, whose motives are completely opaque and who have little interest in him. To anyone who has traveled to non-Western countries, the mood of the first part of this film is all too familiar, and amazingly well-captured. Without summarizing the plot, suffice it to reiterate what a few other reviews said--that this is Antonioni at his best--understated and able to express on film the most elusive aspects of human experience and identity. We never really know what motivates Nicholson's character, but it is set against a fascinating and all-too-real backdrop of post-colonial African political struggles, European arms dealers, and his own mediocre, and apparently hardly fulfilling life which he is leaving behind. Two hours of film without a minute wasted.

I watched this and my overwhelming feeling was empathy for Wally, to have to listen to Andre carry on with the typical post-1960s new york artist cum intellectual philosophic-esquire talk, with its search for authenticity, interest in Eastern religions, Nazi Germany analogies, and critique of industrial advanced society. If we think of Andre's character as one in a play, he is a cookie cut version of that time and context. This does not necessarily make the film or characters superficial. I actually think and/or wonder if Malle's intent isn't to get us to realize the absurdity, possible falsity and seeming truth of any conversation, i.e. to see the "hyperreality" of these characters and the conversation. I think the whole film is actually an exercise in nothingness. What is really said that is true or real? Yet it isn't NOT true or real either. I'm basing some of my guessing on some of Malle's more obscure work, including his documentaries ranging from France to India to Glencoe, Minnesota. He definitely has a philosophical side, which if I'd hazard a guess is heavily influenced by phenomenological philosophy. At least that's reflected in his film-making style.

I'm sick and tired of French 'sex comedies' which for their humor really on tired stereotypes that are 'just jokes' for white, middle-class, straight Frenchies. This film is just one more example. Not only does it use a false 'reverse racism' storyline--that a minority will otherwise be kept in a job he is not qualified for--they also make light of some pretty serious contemporary anti-gay sentiments and actions, such as violent attacks. I don't like all of the stereotypes here that I have seen in so many French movies and comedies--the working-class homophobic buffoons, the not-very pretty secretary (as contrasted with the sexy one) who helps move the film forward. Maybe the fact that this film honestly was not that funny, even if you disregard the 'jokes', doesn't help.