Beloved
Directed by: Christophe Honoré
With: Catherine Deneuve, Chiara Mastroianni, Ludivine Sagnier and Louis Garrel.
2012
Beloved is a strange exercise of lightness in with which the distractively tragic end is at odds.
The film begins with a bubbly, kaleidoscopic sequence at Roger Vivier’s in Paris . Shoes, high-heels and feminine feet seem already to announce – Freud is speaking – that this is going to be a movie about seduction and desire. And desire is what opens the plot. We see Madeleine (Ludivine Sagnier), at the end of her work day at Roger Vivier’s, stealing a pair of red shoes and being mistaken by a passerby for a prostitute. Positively surprised by the lucrative outcome of such a mistake, we see her turning the misunderstanding into a conscious choice, until she is approached one day by Jaromil (Radivoje Bukvic), a handsome young Czech doctor. Over the years – the plot begins in the 1960s and ends in the late 1990s – and across countries – Paris, Prague and London – we follow the love vicissitudes of Madeleine and Vera, her daughter. While Madeleine's second marriage doesn’t prevent her from reviving her passion and affair with Jaromil, Vera's (Chiara Mastroianni) sudden falling in love with Henderson (Paul Schneider) frustrates the faithful love her friend/lover Clement (Louis Garrel) is ready to offer her.
The result is a complex tableau which seems to decline, in all its scenes, Aragon ’s verse “Il n’y a pas d’amour heureux” (There is no happy love). Even though the quick and breezy dialogues, together with Madeleine’s frivolous and coquettish character, maintain in the plot a certain humour and brio, in these story everyone loses, and even worse, everyone loses the person he/she loves. While for the adults – Madeleine and Jaromil – love always had the guise (or illusion?) of a game and freedom, for the young love is a grim destiny: Vera falls in love with Henderson who is gay, Clement loves Vera without being reciprocated, Henderson ’s price to pay is HIV.
The songs, which punctuate the story, maintain the viewer always at a certain distance from the facts depicted, not allowing him to to dive too deeply into the tragic turn of events. They are also well tuned in with the nonchalance of certain scenes one could only hope were so ‘easy’ and unproblematic in real life. We see, for instance, Vera as a young woman, walking in the room and sitting on the bed where Madeleine, now sixty-something, is naked in bed with Jaromil, as if they were in a living room sipping tea (It is true that Catherine Deneuve – interpreting Madeleine – and Milos Forman – interpreting Jaromil – still form a glamorous pair on screen, but wonders if things would be really so natural in real life…). Later on we see Henderson ’s boyfriend, tenderly looking at Henderson and Vera making love…
The most successful thing in the movie is probably the cast. Apart from the two legendary names of Catherine Deneuve and Milos Forman, Beloved reunites some very well known faces from a younger generation of French actors. The two screen couples form in their characters each other's alter egos. While Ludivine Sagnier and Radivoje Bukvic form a couple driven by coquetry, desire and lively frivolity, Chiara Mastroianni and Louis Garrel personify a duo full of bitter self-irony, who feel it has lost even before trying. Across the plot lapses of time and space this remarkably dynamic group of actors works in perfect synchrony.
The last image of the film brought me back to its beginnings, letting me evaluate the covered distance… it might well be that of Beloved, what will stay in my head for longer, is its songs, and not the story.







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