Another nice little recent film from France that lacked the wattage to get into American theaters. People will look at it now, because lead actor Gaspard Ulliel's strong presence and savage faun look have made him a star. He has shone in such films as Téchiné's Égarés (Strayed) and the upcoming Hannibal Rising that exploit his wild look, his animalistic air of danger. He is frequently seen as frightening and independent. He is sweet as the boyfriend in A Very Long Engagement, though. The Last Day shows him off better as an actor because here he is almost always on screen, but is allowed to be hesitant, mysterious -- the essence of a film that holds back its meanings and makes us guess what's going on. Simon is delicate, thoughtful and kind, a manchild and a slightly maladroit creature who detaches by filming and photographing the world. In playing Simon, Ulliel reveals admirable restraint. He shows how an actor must use he physical equipment. His looks are striking, but what counts is that he can do such different things with them.
Simon (Ulliel) is a young arts student. On the night train to his family's Christmas party he picks up a girl who comes along and then quickly takes up with someone who seems to be Simon's former flame. Simon sleeps with (along side) her, but can't have her. And he's been left out of the know because despite being all of 18 he still isn't aware of something important about himself. Rodolphe Marconi's film is nicely understated, never dwelling on a scene too long, stingy with dialogue and scornful of flashy effects. Ulliel's delicacy is essential to these qualities. So is something inaccessible about him that helps keep his somewhat pathetic situation from ever seeming sentimental. Mélanie Laurent as the girl and Christophe Malavoy as the head of the household help round out an impeccable cast.
The Last Day is full of a dry French tact, and escapes being dreary (if only just) by the characters' composure and fortitude. Simon is an athlete (swimming, tennis), but also a good sport in everything--and despite his breathtaking ease in the pool, he has a jerky little walk. What good manners he has! He is always there in deep close-ups, bashful and quiet. Yet we feel his hurt all the more deeply because it isn't acted out. Bruno Todeschini simmers. Nicole Garcia is like a more ravaged Rampling. There's nothing not to like except the ditsy pop songs with English lyrics. Fortunately at a crucial late scene an elegant John Lewis piano solo takes over.
Simon (Ulliel) is a young arts student. On the night train to his family's Christmas party he picks up a girl who comes along and then quickly takes up with someone who seems to be Simon's former flame. Simon sleeps with (along side) her, but can't have her. And he's been left out of the know because despite being all of 18 he still isn't aware of something important about himself. Rodolphe Marconi's film is nicely understated, never dwelling on a scene too long, stingy with dialogue and scornful of flashy effects. Ulliel's delicacy is essential to these qualities. So is something inaccessible about him that helps keep his somewhat pathetic situation from ever seeming sentimental. Mélanie Laurent as the girl and Christophe Malavoy as the head of the household help round out an impeccable cast.
The Last Day is full of a dry French tact, and escapes being dreary (if only just) by the characters' composure and fortitude. Simon is an athlete (swimming, tennis), but also a good sport in everything--and despite his breathtaking ease in the pool, he has a jerky little walk. What good manners he has! He is always there in deep close-ups, bashful and quiet. Yet we feel his hurt all the more deeply because it isn't acted out. Bruno Todeschini simmers. Nicole Garcia is like a more ravaged Rampling. There's nothing not to like except the ditsy pop songs with English lyrics. Fortunately at a crucial late scene an elegant John Lewis piano solo takes over.