Confessions d'un Barjo (1992)

Réalisateur:

Jérôme Boivin

Scénaristes:

Jacques Audiard (dialogue)
Jacques Audiard (screenplay)

Date de sortie:

7 juillet 1993 (USA)

Genre:

Comedie | Drame

Intrigue:

The narrator, "Barjo" (nutcase, crap artist), is an obsessive simpleton, given to filling his notebook with verbatim dialog...

Plot Keywords:

Foreign Language Adaptation | Based On Novel

Avis des utilisateurs:

Rewarding But Flawed Adaptation of the Great PKD Novel

Ensemble

Richard Bohringer	...	Charles
Anne Brochet	...	Fanfan
Hippolyte Girardot	...	Barjo
Consuelo De Haviland	...	Madame Hermelin
Renaud Danner	...	Michel
Nathalie Boutefeu	...	Gwen
Jac Berrocal	...	Mage Gerardini
El Kebir	...	Le gardien de l'usine
Louise-Laure Mariani	...	Petite fille
Gilliane Sanki	...	Petite fille
Camille Gentet	...	Fanfan enfant
Charles-Elie Rouart	...	Barjo enfant
Lise Péault	...	Irene Siccora
Bertie Cortez	...	Capitaine Cosmo
Anne Bailly	...	La femme métal

Autre(s) titre(s):

Barjo (Canada: English title) (USA)
Confessions of a Crap Artist

Durée:

85 min

Pays:

France

Langue:

Français

Couleur:

Couleur

Son:

Mono

Société:

Alicéléo

Anecdotes:

Based on the Philip K. Dick novel "Confessions Of A Crap Artist."

Rewarding But Flawed Adaptation of the Great PKD Novel

So much about this very faithful adaptation of Philip K. Dick's autobiographical mainstream novel _Confessions of a Crap Artist_ is right, that its shortcomings are all the more regrettable. Surprisingly, transplanting the story from 50's California to contemporary France is not one of them -- this works quite well. But the two central characters, the eponymous Jack and his sister Fay (here simply "Barjo" and "Fanfan") have been significantly changed, and not for the better. Barjo is much less edgy and marginal than Jack Isidore, making the sympathy he eventually earns for himself far less of a revelation. And Fay Hume, the irresistible, dynamic and dangerous tornado of a woman (based on Dick's third wife Anne) at the heart of the novel, is here dumbed down to just another suburban housewife -- it's hard to see why the Dick character, Michel, leaves his "perfectly good wife" for her. But the other characters are wonderfully drawn (particularly Fanfan's husband), and the source material is so very strong, that the film remains rewarding (with a particularly wonderful epiphany of an ending). 8/10.