BELLE TOUJOURS
Portugal/France, 2006, 73 minutes, Colour.
Michel Piccoli, Bulle Ogier.
Directed by Manoel de Oliveira.
Belle Toujours is the fortieth film from Portuguese director Manoel de Oliveira. He directed it at the age of ninety-seven. (Five other projects are listed in his CV after Belle Toujours.)
He began directing films in 1931 and had what can now be seen as an almost eighty years career. His films are often very difficult, old style, with dialogue and touches of surrealism. However, at the age of ninety-five, he made Un Filme Falada (A Talking Picture) which was a serious observation on the development of Europe and the European Union, Europe as a centre of culture and historical heritage, terrorism in the beginning of the 21st century.
However, with this film he looks back to Bunuel’s Belle du Jour with Catherine Deneuve and Michel Piccoli, 1966. The story takes up the characters forty years afterwards, Michel Piccoli once again as the man about town who encounters Severine, this time played by Bulle Ogier rather than Catherine Deneuve. They agree to meet, have a meal together, he then takes her back through their past and the years afterwards. The film is very strong on dialogue, has excellent performances, is an interesting postscript to Bunuel’s film.
1. The work of Oliveira over the decades? This film made when he was in his mid-nineties? The assured touch? Cinema style? Themes?
2. The Paris settings: the initial concert, the streets of Paris by night, by day? The panoramic views of Les Invalides and the Eiffel Tower? The first Arrondissement? The hotel? The bar? The musical score – classical music? Light classical?
3. The focus on Mr Husson at the concert, listening to the performance, seeing Severine, looking at her, trying to attract her attention? His trying to get out early, her escape, in the car, his waiting? Audiences wondering about the relationship between the two? His walking the streets, going into the bar, seeing her leave? His discussion with the bartender, getting the name and address? The two prostitutes in the corner looking at him, his ignoring them? His having the double whiskies? The friendship with the barman? His return the next day, the barman recognising him and getting his favourite drink? The two women, their continued comments, trying to listen to what he said? His buying them drinks? Their comments on him and his sexuality? His talking to the barman, the issue of people making confessions to those whom they don’t know? The barman and his personality, attractive to the women, friendly with the drinks? Listening to the story? Severine’s story and his amazement – and his comments that the prostitutes lived ordinary lives in comparison? That they were angels in comparison? Mr Husson and his ease in telling the story to the bartender?
4. Going to the hotel, paying off the concierge, just missing Severine, her trying to escape, telling the concierge not to tell Mr Husson where she was? His doing it, following, getting away in the car?
5. The chance meeting at the corner, the shop, audiences observing them talking, Severine going away, Husson buying the box?
6. The hotel, the preparation for the meal, his waiting impatiently? The waiters? Severin’s late arrival, the champagne? The initial talking, the memories of the past? Audiences realising that she was the woman of the story, the masochistic woman who wanted to experiment with sexuality with her husband’s best friend, the daring? While loving her husband? The unease at the meal?
7. The meal itself, the fact that de Oliveira could direct a long sequence of the protagonists eating three courses without any conversation? The close-ups, the medium shots, the waiters, the various courses, the relish in eating them, the drink? Hussan and his continued double whiskies?
8. The conversation after the meal, Hussan and his reminiscences, his memories of the past? The contrast with Severine, her change, saying she was not the same woman? Her love for her husband? Her looking back over her behaviour, seeing her guilt and responsibility? Discovering a conscience, a deeper religious sense, thinking of finishing her days in a convent? His rather cynical reaction? Her main desire was to know whether he had ever told her husband the truth? His build-up to the confession, giving her the gift, a memory of the past, her rejecting it? His giving the option about what was truth and what was lies – and her rushing from the room? Her never knowing?
9. Mr Hussan, his leaving the room, tipping the waiters with the money from her purse? The waiters clearing up everything and leaving?
10. The religious dimension of de Oliveira’s screenplay? The tribute to Luis Bunuel and Jean Claude Carriere, the play on names of Belle du Jour? Belle du Jour forty years later? Sexuality, experimentation, perversion? Change of heart, growing older, love and fidelity? Severine’s widowhood? Her learning the meaning of what she had done, her not wanting to have hurt her husband? De Oliveira’s particularly Catholic perspective on the post-Belle du Jour story?
