Most Helpful Customer Reviews
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12 of 13 people found the following review helpful:
5.0 out of 5 stars
slow burning genius, 3 Dec 2006
i loved this......3 hours or more of sooty b/W dream footage may 68 paris riots...pretty boys and some girls smoke opium and hang out.....
m.garrel has been making films since the mid 60s - using icons such as Nico, anita pallenberg and jean seberg.......
this film is like a succession of beautiful stills that capture chaos..... cars on fire in b/w are breathtaking ...and ms garrel's extrodinary son /actor Louis, who plays lost boy who falls for the wrong girl,sitting around empty apartments with other bored rich boys - Louis, the directors son is part of a new generation of young actors who are sexy, beautiful and can really in habit their roles -sad, sadisitc,sensual - garrel is a master of cinematic poetry, in the same vein/vain as Cocteau.........
for those who love to dream in the company of beauty - light up and buy it
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9 of 10 people found the following review helpful:
3.0 out of 5 stars
Great film, but flawed, 26 Dec 2006
This film is an attempt to give a serious and true account (to use the director's word) of the events of May 68 and their personal aftermath. That aim is ultimately political, and the film succeeds in being a testimony against forgetting, and against the revisionist and reactionary view of the 1960s which seems to have taken hold in the west since the 1980s.
However, as a work of art, the film is seriously flawed: It is about an hour too long. The dream sequences add nothing to either plot or character development -- one dream, for heaven's sake, shows rioters in period costume, in case we were too stupid to know the connections between 1968 and earlier riots in Paris. The film seems to unfold as if improvised -- eg, we learn that the main protagonist's girlfriend (whose name we don't learn immediately) is a sculptor who works in a foundry; then we see her sculpting; then we see a scene in a foundry -- it's as if the first line about her occupation was improvised, and so the director thought, "Oh, she's said she's a sculptor, so let's try doing a scene in her studio now." Finally, let me mention the long, lingering sequences where nothing is said, nothing happens, and nobody moves, as if the director has gone outside for a cigarette and left the camera running by mistake, and forgotten to tell the actors -- We were bored with this when Warhol did it, and it is still boring. This shows great disrespect for the audience, as if our attention did not matter a jot.
The commercial DVD contains a panel discussion at the Venice Film Festival, with the director, Philippe Garrel, two of the stars (including his son, Louis) and the producer on stage. The director completely dominates the discussion with long-winded and rambling replies to questions, and with a lack of humour that is itself almost comic. (This is in contrast to his son, who appears to have a keen, dry sense of humour.) When you see the director at work in this panel discussion, all the weaknesses of the film become understandable.
A great film, with great acting, undermined by the very personal flaws of the director.
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4 of 4 people found the following review helpful:
4.0 out of 5 stars
Long and Slow but Very Much Worth Seeing, 15 Jul 2008
'Regular Lovers' has been criticised for being slow, dull, self indulgent and overlong. Only the first of these criticisms is really accurate though, and it is in fact well worth buying or renting, for several reasons.
Firstly, this is a great piece of historical drama - made by a director who was involved in the 1968 Paris riots himself, and referencing all kinds of French history and culture (including period costume flashbacks to the previous revolution). The dialogue borders on pretentious at times, but in quite a knowing way, and anyone who enjoys classical French cinema will definitely get a lot from this film.
Secondly, yes, it's three hours long. Accept that, and just relax into the pace of the film. The plot is not the main thing here - instead, the high-contrast black and white photography, the lingering over the characters' faces, and their conversations, is actually very pleasant and not at all boring. In many ways 9and the director mentions this in the extras interview from the Venice festival, included on the DVD), this film owes a massive amount to Jean Eustache's La Maman et la Putain, made in 1973, which is generally regarded as 'the last film of the French New Wave'. There is an air of hope evaporating which is present in both films, and the visual styles are quite similar.
Lastly, the cast of this film are superb. The male and female leads are completely convincing and fascinating and the slow burning drama between them becomes very moving towards the end.
In summary, if you can cope with films which are in no hurry to tall their story, and which contain striking scenes and images throughout, don't hesitate to watch 'Regular Lovers'. It most definitely has a place among the best of French cinema.
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