Let's be frank: there's a lot to unpack here, and definitely more fifty years on than there was in 1971. What in some measure could be seen and more or less begins as simply the obsession of a cozy middle-class couple, and the husband especially, with providing for or "saving" a delinquent youth, quickly reveals a transparent queer subtext which is ultimately all but completely dropped as the themes become more overt. Effusive paragraphs could be and have been written dissecting these notions alone, let alone questions of relationships of one nature or another between adults and minors, and that subsequently turns into a can of worms provoking discussion of ideas that are increasingly unrelated to the film at hand. And all this is to say nothing of how this is rather middling for a fair portion of at least the first half, somewhat spinning its wheels with its low-key tone until an arbitrarily determined point at which the picture simultaneously moves forward once more and dismisses the thought of "subtext" for the underlying concepts. With all this having been said, all the loftier Ivory Tower intellectualism with which I've seen some folks approach analysis of this movie becomes even more questionable than it already was in light of how plainspoken most of the content is or becomes. Suffice to say that 'L'homme de désir' is on the more artful and ruminative side of cinema, declining any fragment of instant gratification that some viewers may require even as it carries itself as a more conventional drama with mild "thriller" airs. However much one wishes to sit and plumb the depths of all the title touches upon, it in no uncertain terms portends fare that will surely appeal to a relatively niche audience.
What, if anything, filmmaker Dominique Delouche was specifically trying to say or explore with this feature is one wide open question, and even as I reflect upon what I just finished watching I don't have the answer. More plainly, though, with or without considering all the bigger thoughts on hand: is it any good? I'm happy to say that it is, though I admit I don't entirely know what to think of it, and mileage will absolutely vary from one viewer to the next. While the writing varies in its strength, activity, and lucidity the story is firmly compelling, especially with consideration of not just the dynamics between Etienne and Rudy, but the dynamics of wife Valentine with both. I admire Jean Bourgoin's cinematography, and the stark black and white presentation is a fine choice for a narrative that's a tad more hard-nosed than not. I'm a little divided on Alain Bernaud's music, or at least the ways in which it's employed at times, but the themes in and of themselves are pretty terrific, not least as events come to a head in the last stretch of the runtime. The filming locations and production design are equally splendid, and Delouche demonstrates strong direction in realizing his vision. And by all means, the cast are to be commended for their contributions, for all give solid performances in helping to bring the tale to life. Of course the chief stars stand out most, yet while Francois Timmerman has the most time on-screen as protagonist Etienne, and shows swell nuance in that capacity, I'm inclined to think that Eric Laborey and Emmanuelle Riva rather outshine him with vibrant acting of emotional depth that does still more to engage we viewers.
One way or another I don't think 'L'homme de désir' is a film that altogether demands viewership. It's not perfect as we see it, it won't appeal to all comers - and to some degree I wonder if the scope and breadth of the themes underlying the plot aren't maybe oversized for a movie that itself is comparatively concise, with a more limited and focused scope. Even for all that, while my favor wavered over these one hundred minutes, at length I did quite enjoy this; if nothing else is true the back half is more robust than the first, with a great finish. Unless one is a diehard fan of French cinema or someone involved I don't think this is something one needs to go out of their way to see, but if one is open to all the more subdued, thoughtful possibilities that the medium has to offer, 'L'homme de désir' is worth checking out if you have the chance.
What, if anything, filmmaker Dominique Delouche was specifically trying to say or explore with this feature is one wide open question, and even as I reflect upon what I just finished watching I don't have the answer. More plainly, though, with or without considering all the bigger thoughts on hand: is it any good? I'm happy to say that it is, though I admit I don't entirely know what to think of it, and mileage will absolutely vary from one viewer to the next. While the writing varies in its strength, activity, and lucidity the story is firmly compelling, especially with consideration of not just the dynamics between Etienne and Rudy, but the dynamics of wife Valentine with both. I admire Jean Bourgoin's cinematography, and the stark black and white presentation is a fine choice for a narrative that's a tad more hard-nosed than not. I'm a little divided on Alain Bernaud's music, or at least the ways in which it's employed at times, but the themes in and of themselves are pretty terrific, not least as events come to a head in the last stretch of the runtime. The filming locations and production design are equally splendid, and Delouche demonstrates strong direction in realizing his vision. And by all means, the cast are to be commended for their contributions, for all give solid performances in helping to bring the tale to life. Of course the chief stars stand out most, yet while Francois Timmerman has the most time on-screen as protagonist Etienne, and shows swell nuance in that capacity, I'm inclined to think that Eric Laborey and Emmanuelle Riva rather outshine him with vibrant acting of emotional depth that does still more to engage we viewers.
One way or another I don't think 'L'homme de désir' is a film that altogether demands viewership. It's not perfect as we see it, it won't appeal to all comers - and to some degree I wonder if the scope and breadth of the themes underlying the plot aren't maybe oversized for a movie that itself is comparatively concise, with a more limited and focused scope. Even for all that, while my favor wavered over these one hundred minutes, at length I did quite enjoy this; if nothing else is true the back half is more robust than the first, with a great finish. Unless one is a diehard fan of French cinema or someone involved I don't think this is something one needs to go out of their way to see, but if one is open to all the more subdued, thoughtful possibilities that the medium has to offer, 'L'homme de désir' is worth checking out if you have the chance.