Please don't get me wrong - I like this movie. It is pure 80's French romantic cinema, has two excellent leads, and like the Flic flicks of the time, has relevant modern themes. It is, however, deeply flawed.
"Notre Histoire" is a classic example of a movie in which an established director carries out all the mistakes he should have shaken off at film school. For instance, Blier is the only director I know who doesn't know how to use music effectively - music is just slotted in at random points, and very unsuitable points at that.
Like a lot of Blier's work, this is a film of confusion, alternative reality and twisted takes on what we call normal life. Its' characters change persona, distance becomes meaningless, relationships blur - yet the film's final few seconds puts everything - and I do mean EVERYTHING - into sharp context.
Essentially, this is a vehicle for Alain Delon, but it's nowhere in the same league as Le Samourai. It's Delon - the King of 60s Cool - playing Robert, a middle-aged man in crisis; yes, playing against type! His marriage is on the rocks, but being Delon, he attracts the attention of wayward young mother Donatienne (Baye). After a fleeting assignation on an SNCF train, Robert won't let go. Donatienne is the woman for him, and he won't give her up! To hell with the marriage, the job, the house, the normal life - let's be reckless!
What follows is a series of surreal set pieces taking Robert from fascination to obsession to the spiritual nature of beer. The surreal nature of the film does throw up some problems as times. The objectification of women for instance; women are displayed as problematic objects for men; inconveniences that get in the way of a good Gallic life. Even Nathalie Baye herself is portrayed as a hooker, wife, mother, teacher and adulteress in many episodes of the tale.
However, the leads are wonderful - Delon gives it his seedy, confused best, whilst Baye (in my mind the most underrated French actress of her generation) gives a wonderful weak/strong performance as the many faces of Donatienne.
Yes, this is a surreal love story. Yes, this is so Gallic it could not be remade in English. Yes, it isn't perfect, but it's an excellent example of a purely French cinema that is simply too homegrown to be appreciated by a wider audience.
"Notre Histoire" is a classic example of a movie in which an established director carries out all the mistakes he should have shaken off at film school. For instance, Blier is the only director I know who doesn't know how to use music effectively - music is just slotted in at random points, and very unsuitable points at that.
Like a lot of Blier's work, this is a film of confusion, alternative reality and twisted takes on what we call normal life. Its' characters change persona, distance becomes meaningless, relationships blur - yet the film's final few seconds puts everything - and I do mean EVERYTHING - into sharp context.
Essentially, this is a vehicle for Alain Delon, but it's nowhere in the same league as Le Samourai. It's Delon - the King of 60s Cool - playing Robert, a middle-aged man in crisis; yes, playing against type! His marriage is on the rocks, but being Delon, he attracts the attention of wayward young mother Donatienne (Baye). After a fleeting assignation on an SNCF train, Robert won't let go. Donatienne is the woman for him, and he won't give her up! To hell with the marriage, the job, the house, the normal life - let's be reckless!
What follows is a series of surreal set pieces taking Robert from fascination to obsession to the spiritual nature of beer. The surreal nature of the film does throw up some problems as times. The objectification of women for instance; women are displayed as problematic objects for men; inconveniences that get in the way of a good Gallic life. Even Nathalie Baye herself is portrayed as a hooker, wife, mother, teacher and adulteress in many episodes of the tale.
However, the leads are wonderful - Delon gives it his seedy, confused best, whilst Baye (in my mind the most underrated French actress of her generation) gives a wonderful weak/strong performance as the many faces of Donatienne.
Yes, this is a surreal love story. Yes, this is so Gallic it could not be remade in English. Yes, it isn't perfect, but it's an excellent example of a purely French cinema that is simply too homegrown to be appreciated by a wider audience.