Showing posts with label Sautet (Claude). Show all posts
Showing posts with label Sautet (Claude). Show all posts

5 December 2019

Claude Sautet's Nelly et Monsieur Arnaud (1995)

Nelly et Monsieur Arnaud is the final film that Claude Sautet made, and is a wonderful one. Essentially there are two characters here, as in the title, where the badly and underemployed Nelly (Emmanuelle Béart) meets the ex-judge and ex-businessman, the wealthy and elderly Mr Arnaud (Michel Serrault).

Mr Arnaud (we don't refer to him as 'Pierre' here) was a brief lover of Nelly's friend Jacqueline (Claire Nadeau), and on one occasion that he meets Nelly he offers to lend her the six months rent she owes, just like that, no strings attached, although Nelly doesn't look surprised but refuses very calmly and then goes home to tell her shiftless workshy husband that she's accepted the money and she's leaving him. This statement is also received as calmly as it is made: most things, no matter how important they are, are said and performed calmly in this film. The important element most of the time is for the viewer to guess the psychology behind the statements or behind the expressionless faces of the protagonists.

Nelly tells another premonitory lie when she tells Mr Arnaud that she has slept with Vincent (Jean-Hugues Anglade), Arnaud's publisher, and that she enjoyed it. She's now working on Arnaud's memoirs at his flat, the 'loan' being forgotten, and Arnaud greatly enjoying Nelly's company, almost, one could say, enjoying a sublimated sexual relationship with Nelly. And Nelly, who is also greatly enjoying the relationship but in a different way, even acts as a kind of editor to Arnaud, mentioning repetitions, obsolete expressions, and places where cuts could be made. She does this seemingly without self-consciousness: again, the viewer has to guess at the thoughts behind the words.

There's a hugely, potentially deeply emabarassing moment Arnaud sits and watches the sleeping Nelly, his hands not touching her but tracing the outline of her shoulders, and wham! She opens her eyes. But her only reaction is to observe that he can't sleep, and she holds his hand until she goes back to sleep again and Arnaud quietly leaves to return to his own bed.

Nelly et Monsieur Arnaud is exquisitely handled, there are no unwelcome moments, there is a very limited obvious psychology employed here, suggestion is all-important. There's a moment at the airport when Mr Arnaud appears to be wavering, wants to return to the past. But no, of course he can't, he's packed his past in cardboard cartons, all the books he's read, swapped his past for the future, which will reveal his past in the form of a book. His immediate future is in his life with his past wife, in travel, and then... And then Nelly continues with her future, the past of Mr Arnaud, before she can catch up with another future.

27 October 2019

Claude Sautet's Mado (1976)

Claude Sautet's Mado came out in 1976, at the end of Les Trente Glorieuses: from the rebuilding of Europe after the war, when French (along with most of Europe) had seen large economic growth, greater general wealth, and had an optimistic outlook. Then the oil crisis spelled a slowing down of the party, and this is seen in the unemployment in the film (Alex and Pierre at the beginning), girls feeling forced to prostitute themselves to survive (such as Mado (Ottavia Piccolo) herself), and a pessimistic outlook.

But the threatened failure of the property business of Simon (Michel Piccoli) is not due to the economic outlook of the time, but to his partner being duped by the crook Lépidon (Julien Guiomar) and putting a bullet through his head.

So now Simon has more problems than before: he's tried marriage twice, but being incapable of liking themself, how can he be suited to live with another woman? He is finishing his relationship with Hélène (Romy Schneider) but seems to be over-affectionate towards Mado, whom he uses for paid sex but would obviously prefer a lasting relationship. Mado too is friends with Alex and Pierre (who becomes Simon's chauffeur). And in fact it is Mado who will pull Simon out of the economic mess he's in, but at the expense of the life of Reynald Manecca (Charles Denner), the main man in Mado's life, whom she doesn't charge for sex, but who started out as a cleint.

In spite of the gloom everyone washes his or her sorrows in alcohol: Alex, Pierre and their friends in the local bar; at the beginning the property executives enjoying the highly expensive Château Margaux 1947; the generally frequent drinking. And at the end – in two bizarre and almost surreal sequences – everyone (apart from Lépidon's mob of course) takes refuge from the rain at a very alcoholic private party in a bar, and leaving it they take the wrong road, end up stuck in the mud and continue the celebrations with drink stashed in a boot of ones the cars, warming themselves over a makeshift fire. But the last scene is shot around Hélène apparently entering a detox clinic.

10 September 2018

Cimetière du Montparnasse revisited #6: Claude Sautet

'Garder le calme !!! Devant la DISSOCANCE !!!

Claude SAUTET
1924 – 2000

Graziella SAUTET
1922 – 2003'

The above quotation,  'Keep your calm when faced with dissonance', might sum up the whole work. Of that work, I would rate Un coeur en hiver one of the most vital films ever made.