LIVING ROOM SECRETS -- NUE PROPRIETE

Several weeks ago I was walking home from work and passed The Roxie Cinema. As I walked passed this cool, chic and decaying theatre I noticed a French movie poster. Imagine my surprise when I realized it was THE Isabelle Huppert on that poster! Yes! It was an film staring Ms. Huppert and I hadn't even known it was here!!!

So, I pulled out the cell phone and called an emergency cinema summit! These meeting of great minds consisted of me, Ing, Alan and Mr. C. B was unable to join as he had a work commitment. So, the four of us sat in the tiny cinema and were soon engulfed into something that I don't think any of us had expected.

As always, Isabelle H was extraordinary. But, what made the experience all the better was the fact that the film was exceptional on all levels!! If I had to sum up the film's plot -- I would say it was about the family secrets behind closed doors kept.

Having thought a great deal about this film, that old essential element of creativity kept ringing in my inner-ear: Tell what you know! ...Every single one of us has more stories to tell than could ever be translated to book, film or record in a lifetime. But, these stories are seldom put to use. They go away with us. ...our memories. ...and our lives. ...they remain hidden away.

And, some of the most amazing of stories are the simplest ones. -- The ones that happen every day. The ones we choose not to share because they are too personal and far too private to simply let out for the world to see, hear or read. This little film from France by Belgium filmmaker, Joachim Lafosse, is one such story.

Cleverly and almost statically filmed --- as if the camera (we, the viewers) are flies on walls. ...or flies flitting about potted plants. We flit about unnoticed as this simple -- yet, complex story unfolds. And, it unfolds in those most intimate of places. The places where life does unfold: the dining room, the living room, the bathroom and the heart. And, as viewers hiding behind the plants and in the shadows we feel the awkwardness of what we see. And, we know that what we see is often just inappropriate. However, we hesitate to toss too many stones at the characters because we all know that these inappropriate moments in ordinary lives are, in many ways, all too familiar to us. Perhaps not familiar in the sense that what we see has happened to us, but we all have secrets from our living rooms, bedrooms, bathrooms and dining rooms that we know were odd, incorrect, inappropriate and very private. Strange as it feels, there is something within this film to which we relate and fear.

There is musical score until the final moments of the movie -- Final moments which are emotionally raw, tragic and unforgettable. We fly away from this private story of family secrets which are grim, strange and unsettling. We fly away because that is exactly what the director's camera does. Or, is it that we run from the sick truth of the situation as it has unfolded? The lack of music makes the film all the more believable, but it is with the sudden jarring effect of violent music which arrives with the devastating final tracking shot packs quite a punch to the gut. I am not sure. I want to say that the music is taken from composer Carl Orff, but I don't really know.

The acting is amazing. I read a review which called Huppert's work in it as a "flawlessly calibrated performance" --- I wish I could remember where I read that and who wrote it. But, for me, that really sums of the film.

I suppose the film's title could be viewed as a reference to not only what has gone on in the lives of this family for which the parents failed to set any boundaries --- and the dire need for them. But, it could also refer to the heart of the central character -- the mother. ...who seems to be fighting with all her power to avoid being cut up into emotional and literal private property for her children, her lover, her ex-husband and her employer. Why is it that films like this are so rare? Truth is much stranger than fiction. And the weirdest things are happening right near you. ...Maybe even to you. Yet, artists seem to strain to make things horrific. Horror films and scary stories do not have to be about monsters hiding in the closet or knife wielding psychos.

Most horrors are committed in the seemingly most innocent of ways. And, without much notice. And, there is no need for flash editing, spooky lighting or 90 minutes worth of shrieking violins.

...all you need is the strength to tell the story -- no matter how unsettling. I think that is a major part of art.

MAGIC & ECSTASY IN CINEMA

Ever see a film that you loved but were unable to articulate why you loved it? No? That's what I thought, but there are a few for me. Come on! Open up! I'm sure that there are a few for you, too! CELINE AND JULIE GO BOATING is one of the films I love but don't really understand why. I just watched it for about the 15th time last night and decided I would try to articulate why I love it so. An experimental attempt about an experimental French film. Starring the late Juliet Berto as Celine and Dominique Labourier as Julie and brought to the screen by one of the original of the French Avant Garde Film Artistes, Jacques Rivette, in 1974 --- this is one of the most unusual and fascinating films I have ever seen. I guess, because I have a hard time understanding why I love it so --- I've avoided reading too much about it.

As I was watching the three hour film last night, I decided that I will pursue more knowledge about the movie. I decided this last night. However, I decided I will write about first. I hope someone reading this has seen the film and will offer their knowledge and understanding of it. And, certainly, let me know if he/she thinks I'm incorrect.

I am familiar with French film history and am familiar with with Jacques Rivette. This is the only film I've seen by him that I think is worth seeing. I have sought several out over the years and have been disappointed each time. But, every time I see this film it blows me away -- and, it touches me. It gives me hope and it makes me smile --- a lot. I guess my love of this film grows from my belief that a small action, an encounter, a quick choice to simply dare to jump off can lead to an amazing adventure and new chapter in life. These "little" choices or actions can push you to the very boundaries not yet imagined. Or, possibly, the idea of THE incredible power of fantasy and friendship. The idea that the possibilities of all these things are without limit --- and, in the end, are so extraordinary that they become ordinary. For me, this movie goes out of its way to tell us that our ordinary lives are outstandingly extra-ordinary. And, there is a bit of Alice in all of us. That, in many ways, we are all just sitting bored with a book waiting for our rabbit to lead us to lead us to a wonderland.

In Rivette's film -- which is influenced by everything from Lewis Carroll to Henry Miller to Louis Feuillade's classic silent serial LES VAMPYRES --- is hard to encapsulate into an easy synopsis. Essentially, the film is a playful and comedic look at the strange and magical friendship of two women. However, there is more going than that. I first saw this film when I was in college. I remember discussing it with my French teacher. I could, then, read and write in French but I was never able to understand it in spoken form. He was patient. He knew of this film and explained to me that the English translation of the title failed to really capture the intended meaning. There is a very significant boat ride near the film's final moments but as I remember my professor's explanation -- the title is actually referring to a colloquiel French phrase which means to spin a wild tale, story or yarn. So, there is a dual meaning to the title.

Once the two women discover each other --- Julie, a bored and sad librarian, who seems to be trying to find control in life thru the use of magical spells. And, Celine, a gorgeous/glam waif of a woman out of control and always late for her only point in life -- to sing and perform lame magic at a very strange cabaret. One day -- as the film tells us thru the use of silent film frame stills, they begin. Julie chases the confused Celine down a hole into the realm fantasy and adventure. They become lost in their adventure. The lines between reality and fantasy blur. And, with the assistance of magic --- Julie and Celine discover a dual reality. And, in this dual plane of existence a possible explanation of 'self' and 'identity' ---- and lacking of both. Men are of little importance in their world. Depending upon one's point of view the film might take place over the course of a year or the course of two or three days. It is never clear.

As their identities begin to blur, their adventure(s) take a rather dark turn. Each finds their way to a mysterious estate which may or may not have been next door to where the sad Julie grew up. Each goes in. We, as viewers catch small glimpses at what each might have done or seen in the house but we never know for sure because both Julie and Celine are unable to remember what has happened. It takes them both a little while to remember that each time they emerge from the house they are exhausted and have to spit out a pretty piece of candy. The pretty candies turn out to be magical. And, when they suck on them --- they become an audience...to their own 'story' ...their own 'yarn' ...they've gone a-boating and taken us with them.

The story of the house and the evil spirits that possess it comes to us slowly. The pacing seems deliberate. The feel is improvisational, but this seems like a feeling to me vs a reality of Rivette's film style. And, it is in their discovered/shared/vision/story that I think I might gain the fullest understanding of what I love about the film. The friends, thru the use of Julie's witch-like magical powers and the candy find ways to invade their story/fiction/fantasy/dual reality and take control of it. ...to save a child from certain death at the hands of evil. The question that is never answered for us is if this is some form of memory from which Celine is helping to save Julie or if they have simply fallen so far into fantasy that it is madness?
...never trust a spirit who appears to be in love with Barbet Schroeder! And, don't ever look at a fish! ...You might get amnesia!

All, I know is that the story doesn't stop there. It never stops. Like all of our lives, there seems to be a full circle Rivette weaves for Celine and Julie. And, I firmly believe that the key to this magical and happy little big film is to never allow those chances to chase adventure or friendship or relationship by --- chase after it and allow yourself to fall! I love that in concept. In reality, it is not so easy. But, one can always try. One can always dream.
...and, one can always go boating. If only I knew how to get on Celine and Julies' boat!!! If only!

I want to show this movie to people, but I never do. I once did and he hated it. I guess you take a risk when sharing something which is special to you and might not be special to another. It can feel bad when it holds no impact for the other. But, I'm sure I'm not alone. I know this film is loved.

Now, if you live in the US and Canada --- you can only see this film on VHS. If you live in the UK, The British Film Institute recently released it to DVD! And, it is certainly easily available in France. It was on DVD in the early 90's but is no longer being pressed. I read that Criterion was looking into it, but that was several years ago.

And, now, I shall begin my research on what the world's critics think!