Finally, _Melo_, the last of the 4 Resnais films of the 80's
recently released by DVD by KIMSTIM. The definitive
review (in English at least) is probably the one by Rosenbaum,
listed by the chicago reader as one of his " greatest hits."
Suffice it to say that I don't particularly care for it. It is much
more static, and musically barren, than I expected after reading
the review. The film is very much like a theater play, with
restrained camera motion and edits (certainly not the
pyrotechnics of _Last Year of Marienbad_ or the enigmatic
tracking shots of _Hiroshima, Mon Amour_). The opening
scene, an important dinner party, shot on a sound stage I
believe, consists mainly of dialog between the three main
leads. Rosenbaum gave a fascinating description of the
camera work; I must say it is a better read on the page than
on my DVD player. The best scenes are probably between
Azema and Dussollier in his apartment, where their initial
thrust-and-parry seduction and ultimate passionate
embraces are wonderfully framed and acted out -- especially
physically. Azema and Arditi won Cesars for their work here
(I thought she won Venice too, no?), but I find her acting
style her too accentuated, too much like it is on stage.
Since this is based on a play and at times evoke a stage
play, complete with shots of red curtains, So I shouldn't
cmoplain, but I do anyway. There is a lot of talk, too much
of it from the characters about themselves, and they are all
a bit tiresome -- Azema with her madness, Dussollier with
his petty jealousies, Arditi's overall disengagement. There is
very little music, unlike what I expected, given the fact that
the two male leads are violinists and their concerts are key
plot points. In fact, this film reminds me of Rivette's
airless _Secret Defense_ and _Story of Marienne and
Julien_. All highly regarded by many critics, but I prefer
Resnais' lightening fast edits and his dolly shots, which
make a reappearance in _Couers_ and which evoke a
vitally so sorely missing in _Melo_. I much prefer _Love
Unto Death_. One masterpiece out of the 4 DVD's is
still cause to celetrate.
I see muchof _Nouvellle Vague_ _La Chinoise_. The
framing is magnificent indeed, and admist all the sharp
editing and half-mocking, half-sincere depiction of the
student anarchists, Godard manages to mix in long
theoretical discussions about Marxism. I much, much
prefer this to _Masculine, Feminine_. In fact,I'd consider
it one of his best work of the 60s, second to only
_Contempt_. There is an interesting write-up by Howard
Hampton (not everyone's favorite critic)
in the May/June issue of film comment.
