THE FLIGHT OF THE RED BALLOON
Taiwan, 2007, 113 minutes, Colour.
Juliette Binoche, Simon Iteanu, Song Fang, Hippolyte Girardot, Louise Margolin.
Directed by Hou Hsiao Hsien.
The final credits suggest that this is a homage to Albert Lamorisse and his beautiful 1956 film, The Red Balloon. While a red balloon does fly over the city of Paris in this contemporary tale – as a guardian, as a friend or, simply, a movie icon – this film has little to do with 1956 in tone or plot. Yes, there is a young boy, but it is the story of him and his mother and the ups and down of living in Paris (or most places) today.
The film requires a strong suspension of disbelief. It also requires a sensibility that delights in staying focussed on small details rather than quickly getting the big picture. There is such attention to detail (sometimes a feature of the director’s Taiwanese films) that scenes of minutiae go on and on – and the prolongation is itself prolonged. We are present for a long piano lesson. We watch little Simon play pinball at some length and his new Chinese nanny, Song, filming him. There is some dynamic in the structure of this tale of mother and son and nanny but it is meanderingly episodic. Those who want a quick fix or are happy with intuitions about the big picture will need a lot of patience.
The distinctive performance of a blonde Juliette Binoche must be praised. At times she is all nerves and clatter. She has moments of sheer delight in her son. She is a voice for a marionette play based on Chinese legends which gives rise to quite some vocal versatility. The boy, Simon Iteanu, is a natural and he is centre screen for much of the time.
We have a Taiwanese director who is looking at Paris through magical eyes while bringing his own perceptions about the difficulties of contemporary life everywhere.
1.The influence of Albert Lamorisse’s The Red Balloon? Its classic status? The balloon, the boy? The references to the earlier film? A homage to it?
2.The title, the visuals, the red balloon, in the city, over the city, as a sign, a guardian, an icon? Its absence during the film? Simon wanting it, seeing it, hiding from it? Not seeing it later?
3.The focus on Simon, the opening, talking to the balloon? His not seeing the balloon in the Metro or hiding from it? The balloon, its always being there? The references to the film by Song?
4.The background of the marionettes, Chinese legends, themes, the empress devouring her enemies, boiling the sea, the dragon king? Suzanne and her voices, her histrionics, seeing her at the rehearsal, enjoying this, the range of voices? The family tradition, her grandfather and marionettes? Her introducing the Chinese expert? The story in the final credits?
5.Simon and his age, Song looking after him, playing pinball, her filming him, the food, the piano lesson and its length, at school, good at maths? His memories of Louise, explaining her to Song, the past, the flashbacks? Relationships, his absent father, Pierre absent for two years in Montreal, his mother and her presence, her love, care? Her moods? The film’s emphasis on the details of their life, in the house, outings? His character?
6.Juliette Binoche as Suzanne, hearing her at the rehearsals, seeing her? Her love for Simon, hiring Song, going back to the rehearsals, coming home, Marc and the mess in the kitchen, her anger, Pierre and his absence, her not having the money? Her searching for the lease? The details at home, phone calls, visits? Going with the Chinese expert? The discussions with Louise, her not coming to Paris? In the house her character? The end, at the rehearsals, the contrast with her quiet looks of love for Simon?
7.Song, student from Beijing, films, Suzanne watching her film and praising it? Her work as a nanny, getting Marc to get permission to cook, her work, filming Simon, editing it on the computer? Her character?
8.Louise, memories, in Brussels, the visit, the grandparents, her not coming? Visualised in memory?
9.Marc and his girlfriend, neighbours, the mess in the kitchen, not contributing to the bills, the moods and clashes with Suzanne?
10.The film’s comment on the details of life, contemporary family, accommodation, work, bringing up children? Difficulties?
11.Yet the presence of the red balloon, hovering over the city of Paris, the beauty of the city? All lives like this – and the Chinese director manipulating his characters and stories as he did with the marionette players?
