Water Drops on Burning Rocks

This is absolutely vintage Francois Ozon fare. He really does take French farce to a whole new level of humiliation and pain for its victims. I can't help feeling though, that the audience is being asked to laugh at rather than sympathise with their dilemmas. (Just see the scene where the young boy dresses for his hot date in some kind of lederhosen. Don't tell me you weren't giggling). Underneath the kitsch seventies style and the black humour, however, this film has a serious topic: the very nature of desire. These are characters who will do anything in order to fulfill their desires, regardless of the destruction they cause to themselves, or in the case of Leopold, others. But what else is their for them in the suburbs of a non descript German town? capitalism may let you have sex without whoever you want, but it doesn't seem to give you the tools to know whether you really want to be having sex with that person in the first place. An intelligent, witty and thought provoking film.

After watching Water Drops on Burning Rocks, it is hard to tell exactly what flamboyant French filmmaker Francois Ozon wanted to achieve with it. On the one hand, the film is a commentary on relationships and sexuality, but on the other hand, much like Ozon's earlier Sitcom, it's easy to think that the talented young director made the film simply to shock. While I don't doubt that shocking his audience was partly his motivation for making this film, Ozon has still created a film that is more than credible on the substance front as the movie professes that, just like the water drops that land on burning rocks of it's title; relationships and love fizzle out over time. The four parties in the play also represent four different points on the sexuality spectrum; we have an old bi-sexual male, a young confused male, a straight female and a male to female transsexual, so the sexuality commentary is on track as well as the comment on relationships in general. Just like Sitcom, also, Ozon always seems keen to push the taboos of the story into the audience's face; and does a good job, as at times it's easy to feel dirty just watching this movie.

The play that the film works from is from the pen of tortured artist Rainer Werner Fassbinder, and Francois Ozon seems keen to respect this fact throughout as he makes various tributes to Fassbinder's distinct style. Ozon is also keen to work in tributes to the French new wave cinema; most notably with a very strange dance scene, that, in spite of being off-cue with the rest of the movie, works very well thanks to the energy that Ozon gives the scene. It also serves as something of a relief to the disturbing and downbeat themes of the rest of the movie, and it's the only time that the underlying layer of black humour, which lies dormant for the majority of the piece (although it's definitely there), truly comes to the surface. In today's day and age, there are few filmmakers that are still capable of making a film that will leave the audience with something at the end of it; but it's safe to say that Ozon has managed it with this film. When the final credits rolled, I was unsure as to exactly what I had seen, but as time elapsed and I reflected on the movie; it's brilliance comes to light. While the movie isn't quite worthy of the term 'masterpiece'; it is certainly very good, and it represents another huge feather in the already feather-filled cap of Francois Ozon.

Francois Ozon's film version of Fassbinder's play is like another more slightly surreal, very blackly comic version of "The Bitter Tears of Petra Von Kant", played out this time mostly by men. Fifty year old Leo picks up twenty year old Franz and brings him home for the night. Franz stays, becoming his lover, his houseboy but mostly his slave. There are only two other characters in this slight, stage-bound piece; Anna, Franz's vacuous former girlfriend and Vera, Leo's former transsexual lover.

Fundamentally it's about love, of the destructive, unwholesome kind maybe, but love nevertheless. Whatever hold Leo has over Franz, (and Vera), they both love him though it could hardly be said that it is reciprocated. Leo is very much the master and everyone else is his slave. Whether he is capable of love is debatable.

Ozon makes the piece both erotic and humorous but it is never quite as touching as it ought to be. All four players give good performances with Malik Zidi quietly outstanding as the boy.

Based on the Fassbinder play, Water Drops on Burning Rocks is an acutely observed exploration of relationships, successfully mixing burlesque absurdity with grim truths to create an enjoyable and insightful film.

The film's characters revolve around the life and whims of Leopald (Bernard Giraudeau), an ageing swinger whose laissez-faire suavity seduces the callow Franz (Malik Zidi). By the beginning of Act II, the latter's boyish confidence has been replaced with the willingness to selflessly submit himself to the whims of his irritable older lover. With the arrival of Anna (Ludivine Sagnier), Franz's subservient fiance, and Vera (Anna Levine), Leopald's former partner, the latter's apartment becomes the home to both farce and tragedy, as desires, attachments and caprices play themselves out in a confinement from which there is no escape. Ozon's consummate direction and the 1970's setting give the film and ostensible gloss which makes its underlying darkness even more striking. This is no less aided by the effortless confidence exuded by Giraudeau and the desperate neediness that is excellently portrayed by his three lovers. What makes Water Drops on Burning Rocks a memorable work is the power of its insights and the originality of their portrayal; it is a film whose exterior is humorous and playful but whose interior contains a bleak vision, in which relationships mean little more than a repetitive vacuum of need, where libidos and routine hold more weight than deep affection or care.

A finely crafted examination of the traits that can be most destructive and tawdry in relationships, Water Drops on Burning Rocks is saved from being dogmatic or overwhelming by the subtlety and wit employed by Ozon and his cast. It is an example of understated film-making that conveys real insight on a subject that has been much maligned in other films, such as the appalling Romance. Highly recommended to those who wish to a covertly intelligent, beguiling work.

I've never been a big Fassbinder fan but with the coming retrospective I thought it was time to check him out again. So I chose this movie, since it was a Fassbinder script directed by a Frenchman (Ozon) that I admire. It was a delight. Somehow the problems I always had enjoying Fassbinder (the intense cruelty between his characters, the disorienting emotional mood swings, the bleak, dreary German atmosphere) were completely offset by the sense of play and love of color and music that Ozon brings to this script. As in 8 Women, his sense of style and beauty rival Almodovar's and even the grim reality of Fassbinder has a beautiful, chic French gloss. He understands that love and sex in Fassbinder are closely matched with jealousy and destruction. It all clicked for me. And the omnisexuality is so fresh - so unspoiled... That said, it's a devastating critique of what lovers can do to each other. But it's,...well...so pretty...

I really, really enjoyed it.