Two bumbling store clerks inadvertently erase the footage from all of the tapes in their video rental store. In order to keep the business running, they re-shoot every film in the store with their own camera, with a budget of zero dollars.
Set in a charmingly surreal Paris, wealthy bachelor Colin spends his time developing his pianocktail (a cocktail-making piano) and devouring otherworldly dishes prepared by his trusty chef Nicolas. When Colin learns that his best friend Chick, a fellow acolyte of the philosopher Jean-Sol Partre, has a new American girlfriend, our lonely hero attends a friend's party in hopes of falling in love himself. He soon meets Chloe and, before they know it, they're dancing to Duke Ellington and plunging headfirst into a romance. Their whirlwind courtship is tested when an unusual illness plagues Chloe; a flower begins to grow in her lungs. To save her, Colin discovers the only cure is to surround Chloe with a never-ending supply of fresh flowers. Written by
The original French title for this movie, L'écume des jours, translates literally to "the foam of the days" but more colloquially means "the froth" or "the remnants" of daydreams. The English-language title, Mood Indigo, is the title of a 1930 jazz composition by Duke Ellington, the musician who is often mentioned in this movie. See more »
If we screw this moment, we try the next. And if we fail the next... we have our whole lives to get it right.
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Usually, I do not care about how a book is adapted, as long as the movie is good on its own. In that case it was completely different; I am a huge, massive Boris Vian fan, and I never thought his style (for example the way he took metaphors literally) could be set upon a screen.
That is to say, until I've heard that Gondry was directing L'écume des Jours. Sometimes, those things just make sense; Gondry is the only one who could have transformed Boris Vian into something visual, and that is exactly what he did, and with no CGI, only old fashioned tricks. The DIY way ladies and gentlemen, that's what it is all about.
Maybe many will dislike this movie. Others, like me, will love it passionately, for its effusiveness, for its communicative joy, for its unrelenting sadness. But at least, people will feel what Boris Vian is all about. And I mean especially for the English speaking countries, where Boris Vian is really not well known and most of the time poorly translated: by transcribing his style to a visual dimension, Gondry made it universal.
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