A wallet lost and found opens the door to romantic adventure for Georges and Marguerite. After examining the ID papers of its owner, it is not a simple matter for Georges to turn the red ...
See full summary »
From beyond the grave, celebrated playwright Antoine d'Anthac gathers together all his friends who have appeared over the years in his play "Eurydice." These actors watch a recording of the... See full summary »
In Yorkshire, Toby Teasdale is the alcoholic director of a school and married with two children with Celia Teasdale that is very unhappy. They have a maid, Sylvie Bell, and a guardian and ... See full summary »
Odile is looking for a new, bigger apartment. Her younger sister Camille just completed her doctoral thesis has fallen in love with an estate agent who is responsible for Odile's apartment ... See full summary »
A musical drawing room farce set in Paris in October, 1925. Gilberte, in middle-age, flirts with men but loves her husband Georges, wishing he were more demonstrative. He's negotiating a ... See full summary »
Diego is one of the chief of the spanish Communist Party. He is travelling back to Paris (where he lives) from a mission in Madrid. He is arrested at the border for an identity check but ... See full summary »
In the seacoast town of Boulogne, Hélène sells antique furniture, living with her step-son, Bernard, who's back from military duty in Algiers. An old lover of Hélène's comes to visit - ... See full summary »
Irrestisible charm and talent helps Serge Alexandre alias Stavisky, small-time swindler, to make friends with even most influential members of French industrial and political elite during ... See full summary »
Prof. Henri Laborit uses the stories of the lives of three people to discuss behaviorist theories of survival, combat, rewards and punishment, and anxiety. René is a technical manager at a ... See full summary »
Clive Langham (Sir John Gielgud) spends one tormenting night in his bed suffering from health problems and thinking up a story based on his relatives. He is a bitter man and he shows, ... See full summary »
Elisabeth and Simon have been deeply in love for two months when Simon momentarily dies, but comes back to life. Simon does not want any further medical tests, but the couple are forced to ... See full summary »
A wallet lost and found opens the door to romantic adventure for Georges and Marguerite. After examining the ID papers of its owner, it is not a simple matter for Georges to turn the red wallet he found in to the police. Nor is it that Marguerite can recuperate her wallet without being piqued with curiosity about whom it was who found it. As they navigate the social protocols of giving and acknowledging thanks, turbulence enters their otherwise quotidian lives. Written by
In Wild Grass, Georges (Andre Dussollier) finds a wallet, finds the owner, Marguerite (Sabine Azema), and finds an odd connection with her and his inner self. I have no idea if I'm right in all of thisdirector Alain Resnais (Last Year at Marienbad) has never been easy, but its obscurity seemed to tell me something about being human and quite a bit about wild-ass filmmaking by an 88 year old director who's throwing everything into the pot and hoping it comes out a tasty stew. What Georges is pursuing in Marguerite, an eccentric dentist, is part a romantic notion of his past as it may relate to the cinema and yet the painful recollection of past deeds too dark to articulate. That cinema is artificial is a leitmotif at least. His acceptance, her acceptance, and their recurring animosity reflect in relief the vicissitudes of love in all the sordid glory from cinema.
Even trips to the police for each of them are more like therapy sessions than the business of identifying the robbery victim (Marguerite) and thanking the finder (Georges). The same policeman, reacting with the incredulity that usually comes only from the audience, lends a surreal take on the strange antics of the principals. Resnais is at full force, even in his eighties, with symbolism from wild grass growing in concrete cracks, unusual feet and shoes, a stolen bag floating almost free, and aviation that like cinema floats free but not without its rules. He creates these images as motifs in order to make order of Georges' obsessions, which become erotic and dangerous even as he seems more lost in his dreams and cinema than ever before.
As George repeatedly backs into the protection of the door to the cinema, we can be quite sure Resnais is certifying the salutary and comforting embrace of film.
That dreamlike state, with the voice over so kindly parsing some of George's passions, is best expressed in the cinema, where Bridges at Toko-Ri makes solid the theme of lost friendship and the transforming of reality into our own visions.
16 of 19 people found this review helpful.
Was this review helpful to you?