L'impossible objet, also called
Impossible Object; from a novel of the same name by Nicholas
Mosley. Directed by John Frankenheimer with Dominique Sanda,
Michel Auclair, Evans Evans and Lea Massari. Cinematography by
Claude Renoir, original music by Michel Legrand. France, 1973,
118 minutes.
Lyrical and
romantic, with cinematography by Claude Renoir and
a memorable score by Michel Legrand, this satisfying film didn't
have a theatrical release: apparently funds ran out before it
reached a distributor. I understand that John Frankenheimer obtained
a copy of the film and entered it in an American film festival
(perhaps Atlanta), where it won top honors. Bates and
Sanda are an irresistable couple, and Frankenheimer presents
the story, which is more complicated to explain than to watch,
with fluid transitions from reality to probable fantasy to the
surreal. Throughout, there are key recurring phrases and situations
which suggest that the body of the story is made up of variations
on a theme--various "takes" from the imagination of
the main character.
- Reality or fantasy -
Harry, played
by Alan Bates, is an English writer living in France, who, as
the film begins, has been "married half his life" to
an American wife (Evans Evans); they have three sons. Harry loves
his family, but he is restless, in the throes of finishing a
book, in mid-life crisis. He moves to a bed-sitter in Paris,
to write.
The rest of the plot (the body of the film)
could be happening entirely in Harry's imagination, or it could
be partially real, events translating into fiction through the
writer's eye.
Whether in reality or fantasy, Harry meets
Natalie (Dominique Sanda), her tall, dreamy beauty and husky
voice a contrast to Evans Evans' American style. They fall in
love in Paris, and eventually live together in Morocco, until
tragedy strikes.
- Plot surprises -
To tell more of
the plot would spoil its surprises ... but there is a charming
birthday party for the youngest son, an hilarious (!) suicide
attempt, lots of love scenes, and amazing cinematography in scenes
on the water off Morocco. This is a virtuosic Bates role. He
delivers Harry whole: loving and petty; sexy and childish; father
and lover; honest and feckless. Even the 70's hair and wardrobe
look good just now.
Story of a Love Story is on my short list
of essential Bates films. If you find it, don't hesitate to buy.
You'll watch it over and over, perhaps recognizing some of the
Paris locations, perhaps going off in search of the Mosley novel;
it is beautiful, sensual, a puzzle to work at, a trip to a special
place. |||
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