The Fire Within

Le Feu Follet or "Will o'the wisp" as it can be translated into English is one of the most important philosophical films made by the great master of French cinema Louis Malle.It is based on a book written by Pierre Drieu la Rochelle who was influenced by Dadaism. Although this film talks of a difficult albeit dark theme of suicide the film's overall mood is not at all gloomy. This is because there are plenty of scenes infused with day to day humor.The film is about a protagonist who has lost all interest in life.Maurice Ronet,a major French film star of the sixties plays the lead role.He is a sort of celebrity among his circle of socialites and he is fed up of their useless company.The film portrays the last days of a person suffering from a drug habit.In some ways this film is an attack on middle class or French bourgeoisie.Although the protagonist is a part of it,he nevertheless makes vain attempts to untangle himself from it.If a separate genre of suicide films is formed, this film will easily find a proud place in that category.

One of the triumphs of the otherwise often overrated nouvelle vague,Louis Malle's adaptation of a Drieu de la Rochelle has not aged bit.Thanks to Maurice Ronet ,who portrays a suicidal man,probably the most beautiful performance of this kind.The movie is nothing but a long wandering in a mental hospital,in the Parisian bistros,in the posh world where an Antonioniesque bourgeoisie is killing time (see Alexandra Stewart's character).If I mention Antonioni,it''s not by chance ;actually Malle succeeds here where Antonioni only partially does.The difference ,I think,lies in the fact that we have here a human being,made of flesh and blood,who exists,and I would like to point out once again what a great actor the late Maurice Ronet was.Eric Satie's music perfectly captures the doomed atmosphere.This is arguably Louis Malle 's finest,one of the rare movies which achieve the delicate balance between the strong screenplay and the "liberties" dear to the new wave creators. Yes the new wave did produce great movies:"la tête contre les murs " (Franju)"Cléo de 5 à 7" (Varda)"Lola" (Demy)and this one are jewels on its crown.

THE FIRE WITHIN chronicles the last chapter in the life of a failed writer who is locked in a struggle with existential despair. Alain Leroy is presently in a hospice undergoing treatment for alcoholism, and he is clearly hung-up on the same dilemma that perplexed Shakespeare's Hamlet-should he continue with his lackluster existence, or end the hopelessness of it all? Always the ladies man, he now feels that he was never able to touch or connect with any of the passions of his nature, and alcohol allowed him a safe haven while he awaited his real life to commence. But, it never did. He spends his last few days visiting with old friends trying to uncover an answer to his problem, but finds no solace in their warmth and encouragement. The film follows the premise to the logical conclusion, but whether we were watching the buildup to a suicide was really not the prime concern of the movie. Malle's film succeeds in that he is able to present a three dimensional character at a significant crossroads in his life. Also, the film contains many wonderful scenes of Paris street life from the early 1960's which further increases the richness of this movie.

Wonderful study of the last day in the life of a man. This movie has one specific scene where Alan Leroy (Maurice Ronet), sitting at a cafe in Paris, takes his first alcoholic drink after months of rehabilitation. This scene is complimented by stunning photography of Chislain Cloquet and the haunting music of Eric Satie. Malle captures the true meaning of existentialist philosophy and manages to create a movie that does not wallow in self-pity but instead celebrates our ability to choose whether to live or die.

Beautifully detailed black and white study of a man looking for a reason to go on living and not really finding it. Updates the excellent 1920s novel on which it is based to the 1960s without sacrificing anything of the former's timeless relevance. To give a (very) rough point of reference, it is something of a subdued Left Bank version of "La Dolce Vita", although Malle's film has none of the frantic burlesque episodes of LDV. Rather, the feel of the film is consistently weary and melancholic. Poetic and moving, it's an existentialist classic.