This is far from the only film to ever operate as it does, more as a broad portraiture of a time, place, or idea than as a medium for storytelling. In this moment, though, I'm hard-pressed to think of another title that so distinctly declined significant plot as a through-line; what story threads this boasts, like lengths of string laid out on a canvas in a vaguely linear arrangement, are mostly just the characterizations. The personalities, histories, and possible futures of the women take precedence over discrete goings-on in the narrative, and so especially as the women are spotlighted far more than clients, the picture largely becomes an even-keeled examination of a bordello at the turn of the twentieth century. Not condoning, not condemning, instead just trying to be as objective as it can in showcasing the highs, the lows, the types of people who might be involved in one capacity or another, and the general struggles that arise therefrom. It's a challenging prospect to make a movie of such a nature, but to Bertrand Bonello's credit, I think he did a fine job here. 'L'apollonide' isn't without its imperfections, but it's duly engrossing and well made, and worth watching more than not.
A slight, gentle sense of story does come into play as difficulties mount in the "house of tolerance"; the latter half of the feature is more actively engaging and heartfelt for the fact of it, and the performances arguably richer - the benefit of a stronger narrative. Even if that weren't the case, however, I think Bonello's screenplay would still otherwise be full and compelling on its own merits. Scenes and characters are flush with detail as written, vivid and complete as the picture weaves its tapestry. From this firm foundation, and bolstered by Bonello's practiced direction, the cast are given soft but bountiful material, and all make deft use of it. A couple actors on hand on more familiar to me than others (especially Adèle Haenel), but beyond that I can't say I'd name a favorite as everyone performs admirably with delicate, nuanced range, and depth of emotion. In light of the overall tack of 'L'apollonide,' interesting as it may be, I therefore don't think it's unfair to argue that the ensemble might be the best specific reason to check this out.
That's not to say that it isn't well done in many other ways. The production design and art direction are simply beautiful, cementing the setting for viewers - and from what I understand, somewhat opening up the set so that Josée Deshaies's smooth, crisp cinematography could stand out all the more. The costume design is rather magnificent in and of itself, surely a top highlight (reinforced by a César award for exactly that), and the hair and makeup, too. Sparing as they are, any effects that are employed look great, and I should say too that editor Fabrice Rouaud did a fine job of assembling the piece that we see. Still, there are critiques to note, too, and while the success of Bonello's approach to the movie deemphasizing story) is up for debate, I don't think that's inherently a matter of quality. On the other hand, the title mostly carries a decidedly flat tone that does make it a tad more difficult to get invested in the proceedings.
More troubling still, and in my mind perhaps the most substantial issue, is the music. I like Bonello's score in and of itself, atmospheric and flavorful, but it seems to me as though the themes are ill-fitting for what the man is otherwise doing here, especially those that come off as more dark and somber. Likewise, injecting modern album rock into the soundtrack (e.g. Moody Blues) is an anachronistic move that does not aid suspension of disbelief, least of all as the editing sometimes juxtaposes a quiet scene of little or no sound with a concurrent one in which a song crescendos; the effect is jolting. This may have been better served with no music at all. And while I feel the last few moments are a nice touch to round out the tale, before that we get one pointedly artistic shot (calling back to earlier dialogue) that frankly feels empty and unnecessary, and a brief cutaway (literal seconds) to one last line before that satisfying denouement. However one might judge the film's strength, the ending feels a little curt, a little rushed, and a little uneven.
All the same, while it may never be wholly grabbing, or achieve a crucial peak of storytelling, and while it may have flaws, I quite like this more than not. The cast and crew put in fantastic work, Bonello's direction is solid, and I admire not just the filmmaker's screenplay but the very low-key, detached fashion with which he has tackled this subject matter. There's a point on the spectrum of descriptors of quality past which I would not tread in this instance, yet even if 'L'apollonide' isn't entirely essential or flawless, it's much better than not and deserving of recognition just as it is. There's no need to go out of one's way for it, but if you do have the chance to watch and are receptive to the subdued tenor, this is a good movie for a quiet night.
A slight, gentle sense of story does come into play as difficulties mount in the "house of tolerance"; the latter half of the feature is more actively engaging and heartfelt for the fact of it, and the performances arguably richer - the benefit of a stronger narrative. Even if that weren't the case, however, I think Bonello's screenplay would still otherwise be full and compelling on its own merits. Scenes and characters are flush with detail as written, vivid and complete as the picture weaves its tapestry. From this firm foundation, and bolstered by Bonello's practiced direction, the cast are given soft but bountiful material, and all make deft use of it. A couple actors on hand on more familiar to me than others (especially Adèle Haenel), but beyond that I can't say I'd name a favorite as everyone performs admirably with delicate, nuanced range, and depth of emotion. In light of the overall tack of 'L'apollonide,' interesting as it may be, I therefore don't think it's unfair to argue that the ensemble might be the best specific reason to check this out.
That's not to say that it isn't well done in many other ways. The production design and art direction are simply beautiful, cementing the setting for viewers - and from what I understand, somewhat opening up the set so that Josée Deshaies's smooth, crisp cinematography could stand out all the more. The costume design is rather magnificent in and of itself, surely a top highlight (reinforced by a César award for exactly that), and the hair and makeup, too. Sparing as they are, any effects that are employed look great, and I should say too that editor Fabrice Rouaud did a fine job of assembling the piece that we see. Still, there are critiques to note, too, and while the success of Bonello's approach to the movie deemphasizing story) is up for debate, I don't think that's inherently a matter of quality. On the other hand, the title mostly carries a decidedly flat tone that does make it a tad more difficult to get invested in the proceedings.
More troubling still, and in my mind perhaps the most substantial issue, is the music. I like Bonello's score in and of itself, atmospheric and flavorful, but it seems to me as though the themes are ill-fitting for what the man is otherwise doing here, especially those that come off as more dark and somber. Likewise, injecting modern album rock into the soundtrack (e.g. Moody Blues) is an anachronistic move that does not aid suspension of disbelief, least of all as the editing sometimes juxtaposes a quiet scene of little or no sound with a concurrent one in which a song crescendos; the effect is jolting. This may have been better served with no music at all. And while I feel the last few moments are a nice touch to round out the tale, before that we get one pointedly artistic shot (calling back to earlier dialogue) that frankly feels empty and unnecessary, and a brief cutaway (literal seconds) to one last line before that satisfying denouement. However one might judge the film's strength, the ending feels a little curt, a little rushed, and a little uneven.
All the same, while it may never be wholly grabbing, or achieve a crucial peak of storytelling, and while it may have flaws, I quite like this more than not. The cast and crew put in fantastic work, Bonello's direction is solid, and I admire not just the filmmaker's screenplay but the very low-key, detached fashion with which he has tackled this subject matter. There's a point on the spectrum of descriptors of quality past which I would not tread in this instance, yet even if 'L'apollonide' isn't entirely essential or flawless, it's much better than not and deserving of recognition just as it is. There's no need to go out of one's way for it, but if you do have the chance to watch and are receptive to the subdued tenor, this is a good movie for a quiet night.