A Very Long Engagement is a great read. The film I mean, I haven't read the book. It is not so much a film of a book as a what one might call a 'book-film'. I have never seen a film which more recalled the experience of reading a book. It has a chapter-like structure and a steady, page-turning pace and visual quality that takes a while to adjust to. In cinematic terms this makes the narrative slow to develop, too slow at times, certainly for our modern film-savvy expectations. Even the use of a narrator, common in films of books as a plot-driver, is here used languidly, simply to reveal the inner feelings of the characters, very much in the descriptive passage style of a novel. Many will justifiably, get impatient, but I found it began to draw me in and engage me rather like a book whose early chapters seem unpromising but eventually makes you care about the characters and wonder what happens next.

So why a film? Well its visual style, typically with Jeunet, echoing Amelie, is non-naturalistic in colour and tone. The obvious magical realism segments strike one as more contrived and intrusive to this film's period lyrical style than with the animated modern Paris setting of Amelie. And of course no printed words could do justice to the irresistible gamin vulnerability of Audrey Tatou: though a third film living off this screen persona, however captivating, would be a stretch. Her quirky, eccentric style works well again here to maintain the non-naturalistic tone of the film, but she needs to be given a bit more to do. It also irritates many: I have heard it said that you really have to be in the mood to 'buy into' Amelie.

Jeunet's treatment of this romantic story of inextinguishable hope wrapped in a an unfolding mystery, is idiosyncratic and always interesting even if, as must be admitted, it lacks pace or cadence. Given the demand of the narrative to juxtapose the appalling, bloody, realism of trench warfare, with the lyrical romance of childhood sweethearts, turned naïve lovers, separated by war, Jeunet's non-naturalistic style shows good aesthetic judgement. In unreal times, even the earthy reality of love must take on an air of detachment and strangeness. So we have a melange of styles from the visceral realism of the trenches to surrealistic shots of Mathilde playing her euphonium (I think) on the cliffs like a siren calling her lost lover to shore. Indeed a delightful running gag about the postman churning up the gravel of her father's driveway is almost Ealing comedy English quaint in style.

The downside of this mixture of styles is that it distances us from the emotional core of the movie. It undercuts the ending, making it less affecting. In the end it disappoints. A little. But this film's quiet, mild disappointment is worth more than the brash urgency of lesser work. Throughout A Very Long Engagement there is an enduring, satisfying, tenderness, which is a rare enough emotion in modern movies to be cherished.

Zettel 2005

Nice review, Z. Don't know when I'll get round to seeing this one. From what you say and what I've heard, I have a feeling I'd be one of the restless ones in the cinema!

Elspeth

Hi El.

You could test something for me: if you do see AVLE, I'd be intrigued to know whether the narrator in the French version still speaks in English - I felt it would have been better in the Subtitled version to have stayed in French and subtitlked the narrator with the rest.

Also - is Jodie Foster's accent as impeccably French as it sounded to my ears?

Regards

Zette.

PS 'A Very Long Engagement' isn't a literal translation from the French I think?

Z

Z, in French it's called Un long dimanche de fiancailles (a long Sunday engagement?)

I've heard JF speaking French and she is completely bi-lingual - I think her mother is/was French. I'll let you know the rest when I see the film

E

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Just checked her bio on imdb and her mother is called Brandy, so I don't think she would be French. Jodie learnt at school - pretty amazing, her accent is perfect.

I haven't seen this film yet, but Jodie foster studied French at Yale.

Au revoir,

Adele.



<Added>

And she went to the French Lycee

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in LA

Cool Al - a new genre: 'Owner Edit Poetry'.

Isn't 'afterthought' a great expression?

El. Hope you enjoy the film: maybe a light meal and little wine to avoid the zzzzzzzzzzz.

As for la Foster, who I admire by the way: could you get on screen at the same time, two actresses with more diamterically opposed screen persona (s?) than Tatou and Foster?

a bientot (?)

Z

Hi Z, I saw this movie last night. Although I enjoyed some of the more surreal images (the shattered mirror murder) and decorative photography (the corn field) , in the end, I thought the film could be summed up with the reaction to the name Bingo Crepescule: why not tra la la? That is, I found it rather silly and emotionally unsatisfying.

Jodie Foster's French was most impressive, though.

Adele.

PS - This was also my first visit to a fab new cinema - the Apollo West End on Lower Regent Street - a little pricey, but very swish and comfortable, and you can take alcoholic drinks into the performance .

Ad

I can't really disagree with your assessment. As I indicated, I found the film more interesting than satisfying. Just seems a quality this director has.

Hoever, totally agree about the Apollo - discovered it by accident as it was the only place with AVLE still on. Oddest loos I've ever seen.

Curzon Soho and Mayfair still have the edge for me as they have the Lucas THX sound system which can pick up even the worst sound balance, the besetting vice of many directors.

The biggest treat of all though is of all places at Berkahamsted in Hertfordshire. Wonderful, fully restored cinema check it out on www.therexcinema.com. Luxurious real circle and the downstairs converted into table of four seats like a cabaret setting. They did Some Like It Hot with Champagne and Oysters on Valentine's Day.

Worth a visit just to look.

regards

Zettel