For the particular movie fan, The Beat That My Heart Skipped, is a slice of intensity, wonder, and subtlety that can only come from Europe. The director/co-writer, Jacques Audiard, has taken a film previously made by James Toback called Fingers, starring Harvey Keitel in the role now occupied by Romain Duris, and made it his own. If I had seen the original version I would make a couple of comparisons to it (at the least, for those who didn't see the original the remake makes you want to check out the original, if only for the acting appeal of Keitel). However I did think about another wonderful French film in the vein of this film- Francois Truffaut's Shoot the Piano Player.
While Truffaut's film is a little more concerned about the lead's relationship(s) with women, I felt a kind of connection between the material of the two pieces- sometimes intense, usually lyrical, tales of a person trying to find what fits more for them, the more criminal side, or the artistic side. And, much like Truffaut and his other New-Wave counterparts, Audiard successfully takes an American formula picture and forms it well into a French setting.
There are a few reasons to recommend the movie, one would be for the music, which gives repeated but specific renditions of a Bach tune. Another would be just for the technical-side, which is well-done in hand-held, neo-noir style by Stephane Fontaine. Another could even just be for how Audiard tells his story, or sometimes doesn't tell it: a couple of times mid-way through the film, I wondered if the story of this character would 'go' anywhere, which can either make or break a film of this kind. It pleasantly (or intensely) did, bringing a catharsis for a viewer by the final scenes.
But likely for most the prominent reason would be for the realistic acting, in particular by its star Duris. As I said, I can't make comparisons between a heavyweight like Keitel and Duris (whom I've never seen in a film before this), but on his own terms Duris creates his character believably. It's at times a complex character, or sometimes not- he has that kind of attitude and face where you don't know whether he's really a 'street-level' guy or more straight laced. The split that is also apparent in the character's parents, one a classic pianist who's passed on (the mother), and the other a more criminal-type of a father, also gives the film an added boost of psychological energy. The lead in this film, much like with the storytelling (or lack of it), dictates how it may turn out.
In the end, Audiard and Duris make it compelling enough for the film to be about him, his conflicts, his lusts, his music. It's a wonderful movie that seems to have passed under the radar (it's in only a few theaters around the area) amid other independent summer fare, but if you're an enthusiast of character-driven thrillers that give a bitter-sweet edge, it's a must-see.
While Truffaut's film is a little more concerned about the lead's relationship(s) with women, I felt a kind of connection between the material of the two pieces- sometimes intense, usually lyrical, tales of a person trying to find what fits more for them, the more criminal side, or the artistic side. And, much like Truffaut and his other New-Wave counterparts, Audiard successfully takes an American formula picture and forms it well into a French setting.
There are a few reasons to recommend the movie, one would be for the music, which gives repeated but specific renditions of a Bach tune. Another would be just for the technical-side, which is well-done in hand-held, neo-noir style by Stephane Fontaine. Another could even just be for how Audiard tells his story, or sometimes doesn't tell it: a couple of times mid-way through the film, I wondered if the story of this character would 'go' anywhere, which can either make or break a film of this kind. It pleasantly (or intensely) did, bringing a catharsis for a viewer by the final scenes.
But likely for most the prominent reason would be for the realistic acting, in particular by its star Duris. As I said, I can't make comparisons between a heavyweight like Keitel and Duris (whom I've never seen in a film before this), but on his own terms Duris creates his character believably. It's at times a complex character, or sometimes not- he has that kind of attitude and face where you don't know whether he's really a 'street-level' guy or more straight laced. The split that is also apparent in the character's parents, one a classic pianist who's passed on (the mother), and the other a more criminal-type of a father, also gives the film an added boost of psychological energy. The lead in this film, much like with the storytelling (or lack of it), dictates how it may turn out.
In the end, Audiard and Duris make it compelling enough for the film to be about him, his conflicts, his lusts, his music. It's a wonderful movie that seems to have passed under the radar (it's in only a few theaters around the area) amid other independent summer fare, but if you're an enthusiast of character-driven thrillers that give a bitter-sweet edge, it's a must-see.