- Gustave de Kervern and Benoît Delépine | Aaltra
- Ramin Bahrani | Chop Shop
- Marco Bellocchio | I pugni in tasca (Fists in the ...
- Louis Malle | Au revoir les enfants
- Gus Van Sant | Milk
- Ceyda Torun | Kedi (Cat)
- Jean-PIerre Melville | Les Enfants terribles
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- Wong Kar-wai | 墮落天使 (Duòluò tiānsh) Fallen Angels
- Luis Buñuel | La mort en ce jardin (Death in the G...
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Saturday, February 18, 2017
Jean-PIerre Melville | Les Enfants terribles
a world apart
by Douglas Messerli
Jean-Pierre Melville and Jean Cocteau (screenplay based on Cocteau’s fiction), Jean-Pierre Melville (director) Les Enfants terribles / 1950
Having seen director Jean-Pierre Melville’s first major film, Le Silence de la Mer, French writer and director Jean Cocteau asked Melville to direct a movie based on Cocteau’s fiction, Les Enfants Terribles.
Despite some problems with the final result—particularly concerning numerous narrative voice-overs, read by Cocteau himself—Melville was a remarkable choice. While latter versions and a recent dance-opera feature far more lurid and literal scenes, Melville, given the sexual restraints of audiences of the time, allows more to the imagination, which, in turn, helps to create a kind of dissociation between the two central figures and the rest of the world.
Why, we can only wonder, might a snowball lobbed into his stomach—even with a rock embedded into—bring the young teenage student, Paul (Édouard Dermit), to a collapse with blood dribbling from his mouth and resulting in the need for a long period of home rest? And what is Paul’s true relationship with the boy who tossed the snowball, his friend, Dargelos (played by the actress, Renée Cosima)? And, even more importantly, what is the true nature of Paul’s relationship with his sister, Élisabeth (Nicole Stéphane)?
Some English translations of Cocteau’s original work titled the book The Holy Terrors, but these adolescents are neither “holy” nor “terrors,” but are, as in the French, “terrible infants,” adolescents who have obviously grown up without proper adult supervision (the mother, like a southern belle, has early in her life retired to her death bed, and is killed off early in the film). And if they love and deeply care for one another in their adolescent alliance, they fight with one another more like Martha and George in Albee’s Who’s Afraid of Virginia Woolf?
That behavior also helps to explain the couple’s need for others around them: in order to properly play out their tortuous relationship, they need an audience, which Paul finds in the presence of the handsome Gérard (Jacques Bernard) and Élisabeth discovers in her fellow model friend Agathe. In many ways, these two become mirror like images of the brother’s and sister’s desires and love. And it is only logical that when they threaten to truly intrude upon the dream-world that the young siblings have conjured up, that the stronger of the two, Élisabeth, must destroy them.
Expressing his love for Agathe, Paul attempts to ask her to marry him. But even in this longing for something outside of his bedroom fantasy, he is too weak to engage her directly and writes a letter to someone staying in the mansion of horrors that Élisabeth has inherited from her short-lived husband. Intercepting that letter, Paul’s sister tears it up and tosses it into the toilet, creating a web of lies that marries off Agathe to Gérard.
Los Angeles, February 18, 2018