This Special Friendship

Another Delannoy 's film which needs restoring to favor in its native France where the director's reputation,because of the stupidity of the fusty Cahiers du Cinema,has definitely sunk.Delannoy,almost a centenarian,worked till 1995 ,but "Les Amitiés Particulières" is his last good movie.I'm happy to notice that there's not one single negative comment on it.Proof positive that non-French are better at judging French Films.Maybe the rating is currently a bit too high (8,9),but if it can help Delannoy get out of oblivion where he has fallen,so much the better.

Delannoy ,transferring a novel which was very popular in the sixties,depicts a world which no longer exists.Lines warn us before the cast and credits:times have changed,iron discipline is now a thing of the past,but there are things which never change: the first emotions of the adolescence.

Some people wrote there was a "gay interest" in the movie.I do not think it is so.If Georges falls for Alexandre ,it is because he lives in a man's man's man's world.Except for the scene of the prize giving day,there are no women,a fortiori girls in the film.And this is a world where religion reigns everywhere,a world where young aristocrats or wealthy bourgeois study under the priests' extremely watchful eye.

Best performance comes from Didier Haudepin,a wunderkind (like Brigitte Fossey in "Jeux Interdits" ) who grew up to become a director ("Paco l'Infallible " starring the late Patrick Dewaere) and an actor ("Les Assassins de l'Ordre" one of Marcel Carné's last efforts) but without any real success.When he appears ,holding the lamb,it is a transparent metaphor of purity.Alexandre's and Georges's love will remain pure and platonic .Their relationship reminds me of that between Le Petit Prince and the aviator in Saint-Exupery's famous novel.Their meetings in the greenhouse are extremely well filmed .That was not such an easy subject for the sixties and the pejorative word "academic" with which the highbrows often label Delannoy does not make any sense here.

Or mgic. or refreshing. or mysterious. or provocative. the film is the long shadow of the novel. and the novel is the right challenge for discover and explore an universe , in strange way, more familiar than you expect. a film about a sort of friendship. not comfortable, many, for a part of public. but useful. not exactly for the message. but a perspective about love, life and young ages , escaping from the ordinary definitions.

I had read the novel (in English translation, one of two which have been published?) several years before seeing the film. It is, I think, characteristically French: carefully descriptive, observant, objective, restrained, but also subtly hypnotic. I read and read, and almost put the book down halfway through because it didn't seem to be going anywhere or making any impact on me. Then, all of a sudden, I was in tears-- but I still couldn't say exactly what had hit me other than everything. It was as though the pieces of a puzzle suddenly fell into place.

The film is faithful to the spirit as well as the letter of the book. Both were remarkably bold gestures for their time, describing an earlier generation and environment which were even more strait-laced. Like me, you may fall gently under its spell, then-- wham! Sheer magic.

People who have loved the novel by Roger Peyrefitte should equally love the film by Delannoy. This story of a thwarted love between two young boys in a french Catholic college in the 50's, faithfully transcribes the nearly oppressive atmosphere which prevailed in religious boarding schools in those days. The climate of repressed, contained passion at times culminates in sublimated eroticism as when Georges kisses the medal worn by Alexandre against his breast. The film perfectly renders the perversity of some priests who secretly encourage the forbidden love, sharing it by proxy, while openly condemning it. A remake of this film could not possibly be made nowadays. It tells a story of a time when,as the great Burke wrote, though at a far anterior period, "vice itself lost half its evil by losing all its grossness". The cast is excellent and the Black & White pictures superb.

I have long wished to see this film and finally a DVD of it has been made available, so I watched it with enormous curiosity. I must say I am very much touched by LES AMITIÉS PARTICULIÈRES, for everything rings absolutely true in this film. The screenplay by Jean Aurenche and Pierre Bost is perfection itself, rending Peyrefitte's autobiographical novel totally cinematic, visually striking and emotionally devastating. The acting by the two leading men is beyond anything I could have expected from such young performers. Didier Haudepin gives the best performance by a child actor I have ever seen in fifty-some years of film-going, standing alongside the likes of Patty Duke in THE MIRACLE WORKER, Brigitte Fossey in LES JEUX INTERDITS and Enzo Staiola in LADRI DI BICICLETTE. The supporting cast is equally to be praised, particularly the great Michel Bouquet. Frankly, Jean Delannoy deserves ample credit for having brought to the screen a film of such beauty and flawless artistry. I believe François Truffaut has never done anything that even approaches such a high level of film-making.