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Movies Forum Index » International Movies Forum » _Full Moon in Paris_
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 Posted: Fri Sep 07, 2007 11:46 pm |
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There is always some kind of conspiratory detective work
between the lead characters of Rohmer's _Comedy and
Proverb_ films, making up stories about others, going about
proving them, only to be surprised by what they find.
_Full Moon in Paris_ is a no exception: Pascale Ogier and
Fabrice Luchini are at cross purposes, sowing suspicions
and jealousy among themselves and her live-in boy friend
Tcheky Karyo. While all female protagonists in this series
are deluded and hard headed, I have always found Ogier
to be the least likeable of all of Rohmer's female characters.
She is almost the exact opposite of her mother. She is
child-like, rail-thin, with a very high pitched voice seemingly
untouched by Bulle Ogier's steady diet of alcohol and cigarettes.
Despite Luchini's charm, I am often reduced to looking at
the sets and the production design (partly done by Pascale
Ogier herself), and the colors and decorations are evocative
indeed. The lamps her character makes and sells
are as thin as she is, and the paintings in her boyfriend's
suburban house is as abstract and unreal as her scheme to
have two homes, one in Paris where she parties every night.
The shallowness of her character is quite stunning. One time
she confesses to her friend/admirer Luchini that she reads
for two full hours! The friction between the outgoing, socialite
wannabe Ogier and the homebound architect Karyo is
frighteningly real; one time he flies into a rage and is within
a hair of beating her up. No wonder she hides from him like
he is her father (as a friend of hers observe). I wonder
what kind of actress Ogier would have become if she had
not died so young. |
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| Posted: Sat Sep 08, 2007 11:34 am |
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On Sep 7, 9:46 pm, septi...@millenicom.com wrote:
One thing I forgot to mention is that _Full Moon in Paris_ is most
fascinating at the moments different characters run into each other.
The viewer is forced to look for clues about who knows/has been
seeing whom. The other thing is of course the standard Rohmer
praise, namely that he is so genuinely interested in his characters,
even if it is a dimwit like Pascale Ogier's; there is never a hint of
condescension. It is just that, in my opinion, such a central
character makes the film a lot interesting. Of course lots of people
disagree about Ogier. She won the Venice best actress for this
role, and I have heard nothing but praise for her in general. I beg
to differ; I think Rohmer's best films are those which have the
most interesting female roles (_My Night at Maud's_, _Claire's Knee_,
_A Summer's Tale_, _Pauline at the Beach_, ...) Interesting that
very few of these protagonists are intellectuals. There is the writer
in _Claire's Knee_, and that seems to be all that I remember. |
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