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Le dernier jour (2004) More at IMDbPro »

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17 out of 18 people found the following comment useful :-
The Struggles of a Broken Spirit, 20 November 2006

Author: gradyharp from United States

Rodolphe Marconi ('Love Forbidden') is a director and writer to watch. He has a signature style already (he is quite young in the industry) and knows how to use that sensitivity to tell touching stories. LE DERNIER JOUR or THE LAST DAY is a mood piece, spare on dialogue, misty in its depiction of young emotional feelings, challenging in its play with time devices, and ultimately very satisfying for those who enjoy the French manner of film making.

Simon (the very handsome and gifted young actor Gaspard Ulliel of 'A Very Long Engagement') boards a train bound for the coast where he is to spend time in his family's seaside cabin. Most of his ride is spent gazing out the windows at the misty countryside, telling us more about this lonely, lost, vulnerable young eighteen year boy than a thousand words. On the train is a young girl Louise (Mélanie Laurent) who seems to be shadowing him. When Simon arrives home he is met by his loving mother Marie (Nicole Garcia), his sister Alice (Alysson Paradis) and his father. Louise joins Simon as a guest in his home and his family thinks the two are a couple. Though they sleep in the same bed, Simon's mind and longing are for a lad who lives in the lighthouse, Mathieu (Thibault Vinçon). Simon visits Mathieu, with Louise not far behind, and though we feel a kinship between the two boys, Louise forces her attention on Mathieu and Simon becomes a third party. In a telling moment when the three are in a pub Louise insists that Simon and Mathieu kiss, and that kiss tells a lot about the current state of mind of both boys. Simon becomes isolated, longs for Mathieu who has moved on from their past relationship, an emotional level which is culminated in a visit to Mathieu's home where Simon, alone on Mathieu's bed, re-visits the passion and lust and love for Mathieu in a scene of radiant beauty.

Simon's parents argue at all times and this leads to the discovery of a previous affair his mother had, an affair which holds secrets that drive a stake into Simon's relationship to Louise and to his mother's lover who as he visits the mother uncovers significant mysteries. The story ends tragically in a coda suggestive of the beginning of the film. It is stunning.

For some the sparse dialogue may prevent the storyline from driving clearly, but in the hands, eyes, and body of Gabriel Ulliel words are wholly unnecessary. If there were no other reason to see this very sensitive film, having the opportunity to observe the talented Ulliel would be sufficient. Recommended viewing, in French with English subtitles. Grady Harp

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19 out of 22 people found the following comment useful :-
This movie provoked much more of an effect than I'd have liked., 9 June 2006

Author: danandchad from United States

The movie starts a little maudlin. Homeward bound for his family holiday, he meets a young woman on a train. He brings her home with him, and the family assume they are a couple and have been. He introduces her to a past friend, with undertones that it was a previous unrequited love interest. As she moves away from him towards a relationship with that friend, loneliness sets in. It brought back feelings of loneliness and emptiness, combined with anger and jealousy I felt at those ages (having been in the same scenario coming of age). To say it's better to have loved and lost has no bearing in this story. To see someone come of age with a story as this one rarely has a good outcome; I survived, many do not. The story takes a real almost unrealized twist toward the end, all I will say is pay attention to names and time-lines. I know my past was not the norm and hopefully most people seeing this movie, would be viewing it as the abstract life of another. No one should live through that pain and emptiness. I cried for an hour after the film was over.

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14 out of 15 people found the following comment useful :-
Great Songs ! Nice story, 3 February 2005
Author: W de Bruin (info@filmrecensiepagina.nl) from Netherlands

I recently saw this movie on the International Filmfestival in Rotterdam and was wondering if someone knew who did the soundtrack. I have this song humming in my head, but cannot find the title and performing artist(s)... The movie is about a young French boy who's being followed on the train from Paris to his home on the coast by a girl. So he brings this girl home with him and his parents assume they are boy and girlfriend. When the girl is introduced to a friend of the boy she starts to fancy him more and the boy starts to feel lonely. It looks like she is using him. She sleeps with him, but has sex with his mate. When you think you have figured it out, there comes a nice twist in the story! I liked it and of course the music!

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12 out of 12 people found the following comment useful :-
Unrequited Love.........or......A Study In Self-Destruction:, 23 June 2006

Author: arizona-philm-phan from Arizona

*** This comment may contain spoilers ***

I really like the following description of main character, Simon, found at another web site----"Simon is a sensitive, private, lonely, broken, and tormented soul." We are introduced to S. during his travel home for a holiday visit, travel during which he meets another young voyager (Louise), who he winds up inviting into his home. Somewhat surprisingly we find it is not upon Louise that Simon's thoughts dwell, but rather on boyhood companion (and likely more), Mathieu. Something of their earlier (most likely sexual) relationship is alluded to during Simon's visit to a local lighthouse and his conversation with Mathieu, who is its keeper. While he might have been hoping for some sort of rekindling, it soon becomes apparent to Simon, and to us, that M. is moving on as concerns his relationship preferences (yes, he likely enjoys the wild kiss he initiates with S.---at Louise's urging---but not enough to change his current course). Louise is now his focus, something that becomes 'majorly' upsetting to S.

If you require further proof of Simon's true feelings, you need only view the late-in-the-film scene in which S. enters Mathieu's quarters (when M. is away), makes his way to the bed, lies in it, eyes closed, holding the bedclothes, then the pillow, to his nose and deeply breathes in Mathieu's scent. While doing this, he is moved to initiate his own self-gratification. A tremendously sexy scene---I kept hoping Mathieu would appear in the doorway, but obviously other things were afoot.

Mother, Marie's, startling disclosure near film's conclusion, concerning one of the major relationships in Simon's life, results in an ending you are unlikely to soon forget.

PS--Much of this script is a little slow moving and, sometimes, repetitive. My 6 awarded Stars are aimed, primarily, at Ulliel's acting as Simon, but also at Garcia's as mother. I won't be throwing this out of my DVD collection, but likely will not be viewing it often.

****

SOME LATER-IN-TIME THOUGHTS (A POSTMORTEM, IF YOU WILL)(May, 2007)---

Following young (late teens) Simon as the film begins, and later meeting those who make up the short arc of his life, we begin our study of a most fragile existence. Almost immediately we're given Louise. "Learning" about this young (past mid-teens) girl who appears at story's beginning---and sticks with Simon almost throughout---becomes strangely intriguing. Who, indeed, is Louise? His fiancée-to-be......is she really? Or is she something else?

Next, there's the question of his family: Simon has an unhappy relationship with his father, one of misunderstandings. The connection with his 2-year older sister is a contentious one. That then leaves his loving and protective mother......a mother who comes across as being ultimately perceptive of a very fragile son. This, strangely, is the same mother who at film's end gives him absolutely catastrophic news......and then, ending the family's vacation, departs their seaside home leaving Simon completely alone. At that point we have been given, in a most jolting manner by the film's writer/director, something her type mother would never, never ever do.

Ah.........but Mother is not to worry for, as this tale draws to an end, a shockingly devastating scene is being caught for us and for her by "video camera nut," Simon----preserving on film, as he so likes to do, life's important events.

If any film on DVD cries out for a Director's Commentary, it is this one. As just one reason, there are numerous action jumps / changes wherein the preceding scene activity has (apparently?) nothing to do with that which follows. Some are only one shot long (such as a night-time scene of a man entering a near-distant home of two lit rooms, then moving from one room to the other, turning out lights as he goes-----leaving us with only a twinkling indoor Christmas tree as the shot fades). What's that about?

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(How I love the oh-so-fitting label reviewer, Chris Knipp, of Berkeley, CA, has applied to Gaspard Ulliel--- 'Savage Fawn')

****

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13 out of 14 people found the following comment useful :-
Extended Family, 17 December 2005

Author: talltale-1 from Jackson Heights, NY

A wonderfully atmospheric French film, THE LAST DAY details a Christmas holiday with the family of an art student, and the beautiful young woman he encounters on a train, during which lives unravel terribly. Writer/director Rudolphe Marconi is adept at slowly piecing together the story without undue dialog or exposition. His cinematographer, editor and production designer have all contributed to his vision of a beach-side home and environs with a cold, blue palette that will have you wrapping your sweater more tightly. Gaspard Ulliel ("Strayed," "A Very Long Engagement") is compelling as the lead, and the film offers the wonderful Nicole Garcia ("Alias Betty") another strong role in which to shine. A family mystery of sorts, some of the clues may be dropped too soon (we figured things out well in advance), yet due to the fine acting, atmosphere and characterization, the film still pulled us along and left us jolted, moved and chastened. Secrets this important should never be withheld from those you claim to love.

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8 out of 9 people found the following comment useful :-
Tasteful biter-sweetness and an acting showcase for Gaspard Ulliel, 27 January 2007

Author: Chris Knipp from Berkeley, California

*** This comment may contain spoilers ***

Another nice little recent film from France that lacked the wattage to get into American theaters. People will look at it now, because lead actor Gaspard Ulliel's strong presence and savage faun look have made him a star. He has shone in such films as Téchiné's Égarés (Strayed) and the upcoming Hannibal Rising that exploit his wild look, his animalistic air of danger. He is frequently seen as frightening and independent. He is sweet as the boyfriend in A Very Long Engagement, though. The Last Day shows him off better as an actor because here he is almost always on screen, but is allowed to be hesitant, mysterious -- the essence of a film that holds back its meanings and makes us guess what's going on. Simon is delicate, thoughtful and kind, a manchild and a slightly maladroit creature who detaches by filming and photographing the world. In playing Simon, Ulliel reveals admirable restraint. He shows how an actor must use he physical equipment. His looks are striking, but what counts is that he can do such different things with them.

Simon (Ulliel) is a young arts student. On the night train to his family's Christmas party he picks up a girl who comes along and then quickly takes up with someone who seems to be Simon's former flame. Simon sleeps with (along side) her, but can't have her. And he's been left out of the know because despite being all of 18 he still isn't aware of something important about himself. Rodolphe Marconi's film is nicely understated, never dwelling on a scene too long, stingy with dialogue and scornful of flashy effects. Ulliel's delicacy is essential to these qualities. So is something inaccessible about him that helps keep his somewhat pathetic situation from ever seeming sentimental. Mélanie Laurent as the girl and Christophe Malavoy as the head of the household help round out an impeccable cast.

The Last Day is full of a dry French tact, and escapes being dreary (if only just) by the characters' composure and fortitude. Simon is an athlete (swimming, tennis), but also a good sport in everything--and despite his breathtaking ease in the pool, he has a jerky little walk. What good manners he has! He is always there in deep close-ups, bashful and quiet. Yet we feel his hurt all the more deeply because it isn't acted out. Bruno Todeschini simmers. Nicole Garcia is like a more ravaged Rampling. There's nothing not to like except the ditsy pop songs with English lyrics. Fortunately at a crucial late scene an elegant John Lewis piano solo takes over.

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8 out of 10 people found the following comment useful :-
Very slow moving film, 2 August 2006

Author: Allendorf from Hamilton, Ontario

In many respects, I could tell that this movies convey a rather deep meaning and not just ordinary teenage-gay-boy romance story which mostly end up in either bad or happy ending. This movie is alike to many of other French movies that I saw before which contains little or minimal dialogue. It conveys the message through showing "symbolic scenes".

However what troubles me the most is not such 'absence of dialogue' but rather the clarity and sense of direction in the film. The love that grow between Simon and Matthew is only evident somehow in the middle of the film but for the rest - it is clearly unclear of what Simon thinks or at least other characters should have played greater role to clarify the role of the main character. As a result of this unclarity - all scenes appear to be just randomly and awkwardly put in.

The movie is incredibly slow. There is no significant or notable progression that the audience should be rewarded after watching the film for around 2 hours.

Aside from the talented and good looking actor Gaspard Ulliel (who played Simon), there is no other aspects of either in the story or plot that makes me eager to recommend this film to the general audiences.

5 out of 10

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6 out of 7 people found the following comment useful :-
Beautiful and interesting, but not rewarding?, 22 July 2007

Author: leftbanker from United States

*** This comment may contain spoilers ***

The previous reviews make interesting points about this film; most of them plausible and some very perceptive. The following is more an analysis than a review and contains SPOILERS. If you have not viewed the movie and intend to do so, you might want to watch it before reading further. The film is a study in ambiguity – taking that French-film hallmark to a new level – and I do not pretend to have the definitive interpretation of the characters' emotions and actions. But here are my somewhat disjointed, and not entirely original, thoughts.

Louise and Simon are both stalkers, of the active and passive types respectively. Sort of yin and yang (initially secret) siblings. Simon is an observer, introverted but not entirely introspective, always looking out at others through a glass (a window or a camera lens). Does the glass distort or clarify his vision? In either case, it separates him from the others - he is emotionally isolated from everyone. In the end, he stops watching and acts, shattering the glass to end the isolation in the only way he can. Simon does not meet Louise by chance on the train - she pursues him, playing on his loneliness, so as to insinuate herself into the family circle (at Christmas, yet). Her motivations remain unclear to me. Apparently she initially wanted to learn more about her half-brother, but her actions seem quite malevolent when she pursues Mathieu even though it is clear that this increases Simon's distress. So I take a darker view of the affection she shows Simon; she seems to be setting him up for his ultimate devastation.

While the film gives no incontrovertible proof that Simon has a romantic/sexual interest in Mathieu, many scenes indicate strongly to me that that is the case. Soon after Simon arrives in La Rochelle, he leaves Louise in the car to climb to the top of the lighthouse to seek Mathieu out, and he is obviously disturbed when Louise follows. When the three are together, Simon is continually looking past or around Louise to gaze at Mathieu, and when Louise leaves the bed to make hot chocolate, Simon lies staring at the sleeping Mathieu. Several times Simon alludes to, and tries to rekindle, their past relationship, but Mathieu has moved beyond it (if Simon did not misinterpret it from the beginning). When Simon gratifies himself on Mathieu's bed (where Mathieu and Louise have apparently just made love), intoxicated by the scent of the bedding, he could be assuming the place of either of the two, but the other indications make me think he is supplanting Louise. (Finally, the obvious phallic image of the lighthouse bears some consideration, and I think it bolsters the sexual element of Simon's interest in Mathieu.)

When/if I watch the film for a second time, I would pay more attention to Simon's art. It seems that Mathieu has not figured it out – and is probably incapable of doing so. When he mentions the article he saw about Simon's photographs, Mathieu says it was poorly edited and the pictures sloppily presented (unfocused and cropping off parts of the subject). He does not understand what Simon is doing in the photos or in life. When Marie steals a look at Simon's portfolio, she begins to understand the full sense of desolation within Simon. Most of the pictures feature the dunes and coast in the vicinity of the lighthouse. At other points in the film, Simon appears at most of these same places. The pictures are portraits of Mathieu – without Mathieu. (I have not figured out the significance of the first three pictures of the statuette, but assume they relate to Marie herself. I would welcome ideas about those.) Then there are Simon's film clips – mostly blurred, confusing fragments depicting the actions and emotions of those around him – things he is capable of recording but not, it seems, comprehending or accepting.

In addition to the homosexual implications of the film, there are strong elements of incest in the relationships between Louise and Simon and Simon and his mother. Simon's final, posthumous commentary speaks to that. Freud would have had fun with those relationships and the images of the father – one false, one absent. Was Simon pushed over the edge by the realization that he has been kicked out of Mathieu's bed by his sister and out of his mother's bed by his (true) father?

Now for my review: I give Gaston Ulliel a 10 and the rest of the film a 4, for an average of 7. The film did make me think. I tend to over-analyze things – looking for (and finding) images, symbols, motives and meanings that may be utter figments of my imagination, entirely unintended by the filmmakers. Often that analysis is a somewhat fruitless endeavor, but in this case I think it is exactly what the filmmakers did intend. They provided hints, clues, seemingly random moments (often blurred and fragmentary like Simon's movies) for us to try to comprehend and piece together into a meaningful narrative. Was it worthwhile for me? Under most circumstances, I would not have watched the film to the end. Parts of it really dragged – Simon's endless splashing at night in the swimming pool; the long drives at night on country roads; the stuffed seabird always lurking like the Raven. And, despite Gaspard Ulliel's extraordinary magnetism and acting skill, the almost unremitting and (in my estimation, unexplained) gloom that pervades his character became tedious to the point where the inevitable ending came as a relief, not a shock. I did watch till the end and might watch it again – if only for the glimpses of Ulliel, some of them transcendently beautiful. But if you are not fascinated by Ulliel, many other films are just as thought-provoking and ultimately more rewarding for anyone who is not into angst for angst's sake.

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3 out of 3 people found the following comment useful :-
Daydream in Blue, 10 August 2008

Author: Aluísio Parondi (nem.freud.explica@gmail.com) from Winooski, Vermont, USA

Young writer-director Rodolphe Marconi introduces us to 18 year-old Simon (the extremely handsome and talented Gaspard Ulliel, "A Very Long Engagement"), who brings a girl he just met on a train, Louise (Mélanie Laurent), along with him to visit his parents and sister for a holiday in the country. As the mysterious Mathieu (Thibault Vinçon), Simon's unrequited love, reappears, Louise and Mathieu develop a liaison of their own, and we contemplate Simon's morbid sadness as dark secrets are uncovered.

"The Last Day" is a very personal, slow-paced, sensual and tragic story. It's very French in its aesthetics (which I love) and mood, and Marconi owes great part of his film's power to the amazing talent of Ulliel, who says more with a single look than most of today's young actors with a thousand words. In spite of his first bad move in Hollywood with "Hannibal Rising", I believe Ulliel is destined to become an international star (and if he doesn't, that's also fine, as long as he keeps picking daring roles in great films in his homeland). The soundtrack is also eclectic and memorable, and Marconi even reserves "the improvised, sudden musical scene" that's a trademark of some contemporary French directors, like François Ozon and Christophe Honoré. It could seem out of place and even ridiculous, but works beautifully here. Not a film for everybody, and ultimately depressing; but a memorable, poignant experience nonetheless. 9/10.

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7 out of 16 people found the following comment useful :-
Interesting, but very French, 18 July 2005

Author: JetBoy from San Diego

This is an interesting, but ultimately disappointing film. The plot twists (of which there are several) are telegraphed way ahead, so if one is paying attention they become obvious and hence unsurprising. The characters are well-drawn and the soundtrack is quite nice. This is a very French film. It has all the obligatory scenes, including many of characters brooding where no one speaks. It even features several scenes on a train, as is required of all true French films. Also classically French is that one must guess at motivation, and the film does leave many questions unanswered.

This film does best as a character study of a small ensemble of interesting people. The boy, his parents, and his childhood best friend. His sister has a very small role, serving mostly to provide excuse for exposition and show other sides of the boy's personality.

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