An analysis of a romantic french film

There is something cold in her vision: It is the story of Marie Caroline Duceya young woman of saturnine temperament who is infuriated at her fastidious boyfriend Paul Sagamore Steveninand his refusal to make love to her.

Marie is examined by a row of smirking medical students, each with their rubber glove, she fantasises about a row of genteel enceinte matrons being petted by their fussing husbands while their lower halves are candidly rogered by porno stallions. Finally, after a violent encounter with a stranger in the stairwell of her apartment-building, Marie becomes pregnant by the insipid Paul, and with impressive brio, Catherine Breillat converts her gynaecological sex scenes into actual gynaecology.

He waits in the lobby, foolishly hoping that Camille will see him and call out to him, recognizing him as her son, but this does not happen. Peering into a supposed mise en abyme of female sexuality is a killjoy approach which renders simple, unexamined pleasure inauthentic.

As ever, it is the sphinx-inside-the-riddle effect which is of overwhelming importance: But the day after the engagement, Thanh helps Camille leave to look for Jean-Baptiste up north. The French sailors do not object thinking their superior is taking a congaie, a Vietnamese mistress.

Thanh, now a high-ranking Communist operative, arranges for the theater troupe to smuggle the lovers into China. He agrees to talk eventually if he can first see his son. Guy attempts to use operatives to put down the growing insurrection and also arranges for French agents to look for Camille and Jean-Baptiste in the north.

Guy figures out that traveling theater troupes may be behind many near-simultaneous insurrections in the north. Jean-Baptiste spends time in prison and does not speak with anyone.

In whatever congress with Paolo or Robert, her face is turned palely askance on the pillow or the carpet or the cast-iron shackle, her lips perpetually on the verge of some moue of indifference, for all the world as if the actual shagging is happening a couple of miles away.

The film is often discussed in the context of censorship, but in fact it has not been cut: Soon they are enveloped in a torrid affair.

Jean-Baptiste brings her indoors and cleans off the blood, cutting off her dress in the process and exposing her bosom. She is flustered when he challenges her publicly and surprised when he turns up at her plantation days later, searching for the boy whose sampan he set ablaze for suspicion of opium smuggling.

Out and about in the city, Jean-Baptiste witnesses the escape and shooting of a Vietnamese prisoner by a French police officer. Paolo is supposed to be a widower whose wife was killed in a car crash, and though Mr Siffredi does not quite convey the contingent melancholy nuances, his stolid professionalism is in evidence where it counts: Mr Siffredi gets wood all right.

Camille travels and reaches Dragon Islet with a Vietnamese family seeking a term of indenture in the south, but they are killed by a French naval officer. Marie is always fretting: As the film concludes, an epilogue notes that, the next day, French Indochina becomes independent from France and Vietnam is partitioned into North and South Vietnam leading, eventually, to the Vietnam War.

After five years, the Popular Front comes to power and releases all political prisoners, including Camille. Share via Email It must have been a while since mainstream cinema audiences were invited to view a young woman submitting to be tied up by an older man her employer, as it happensthe cord tied between her legs, through her vagina and pulled up good and tight: He gets teak; he gets a distressed pine wardrobe.

Camille and Jean-Baptiste escape from Dragon Islet and sail away through the Gulf of Tonkin for several days without food or water. The Navy which has authority over the case and refuses to subject Jean-Baptiste to interrogation by the police plans to court-martial Jean-Baptiste in Brest, France to avoid the public outcry that would likely arise from a trial in Indochina.

This puts a price on the heads of both Camille and Jean-Baptiste, who stands by her. Then the young woman interrupts the process in tears, not through rage at phallocentric oppression in life and art - nothing so dated - but rather anger at her own timid refusal of this adventure and naturally a vertiginous sense of the profound "enigma" in female sexuality.

Breillat herself caused a minor sensation at the Edinburgh Film Festival this summer, declaring that censorship was a male urge, and the X certificate was linked to the X chromosome. No self-respecting liberal sophisticate can ever profess himself either shocked or aroused by explicit sex on screen: He finishes the ceremony only to see several French soldiers with their rifles aimed at him.

Caroline Ducey does not have the charisma and self-possession of, say, Catherine Denueve in Belle de Jour, but the film is never as dire or embarrassing as Nine and a Half Weeks or Last Tango in Paris, and does not deserve to join them in the dustbin of cinema history.

Camille wakes up in his arms and falls in love with him at first sight, believing that he has saved her life. Romance has many brilliant and bizarre moments, particularly the brutally explicit imagery juxtaposing the penetrations of sex and childbirth. Her subsequent odyssey of sexual adventure is a lot more hardcore than anything Tom and Nicole ever manage.

As Camille sees her traveling companions dead, she attacks the French officer shooting him in the struggle. Jean-Baptiste spots Camille among the laborers and leads her away. When Jean-Baptiste arrives at the scene and demands that the officer tell him what happened, the officer says that the family refused to be split up and started inciting a riot.

Word about the "affair" gets out, and Camille is taunted at school. Camille is captured and sent to Poulo-Condor - a high security prison that does not permit visitors, and not even Guy can free her. On arrival, he is greeted by the outgoing commanding officer, who says the French authorities hardly pay attention to this outpost:Oct 30,  · It’s a love letter to a cinematic legend, serving as a perfect final film for someone who long ago surpassed mere actor status to become The Sisters Brothers Call it a revisionist or an absurdist Western if you will, but Audiard’s film feels both refreshingly new and nostalgically familiar.3/5.

In some other film genre, romance is supposed to be the sub-genre, which makes romantic thriller, romantic drama, action romance and romantic comedy. And even in Titanic this kind of disaster film, romance is an important element which runs through the whole movie.

The five most romantic French films of all time

French Romantic poetry marked a dramatic break with a national tradition of verse which had been inherited almost unaltered from the seventeenth century. During the eighteenth century, the neo-classical conception of poetry as a rule-governed and highly stylized art had continued to prevail; verse was characterized by a solemn tone and narrow lexis, and there was a rigid distinction between.

Apr 25,  · Amélie is an innocent and naive girl in Paris with her own sense of justice. She decides to help those around her and, along the way, discovers love/10(K). The film captures the mood of teenage love while avoiding the sentimentality that takes over in American films with similar story lines.

Its honesty and depiction of first love, friendship, and. German Expressionism in Film: A History. THE RISE AND FALL OF GERMAN EXPRESSIONISM RAVISHANKAR.N INTRODUCTION German Expressionism refers to a number of related creative movements in Germany before the First World War during the s.

An analysis of a romantic french film
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