Synopsis
A self-centered man (Gérard Depardieu) with many diversions occasionally visits his 4-year-old son (Antoine Pialat) and the boy's mother (Géraldine Pailhas).
The Son Of...
1995 ‘Le Garçu’ Directed by Maurice Pialat
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Pialat films happiness or what passes for it in one of his films. Every moment his camera is on his kid Antoine has a calm and tenderness nothing else in his filmography approaches. There is of course the share of trouble otherwise, Depardieu is playing a Pialat stand-in so he has to be an asshole if one that have force himself to tone down a good deal of his anti social tendencies. Earlier Pialat stand-ins always seem angry at whatever comforts in life their successes bough to them, while Depardieu seems just disappointed in himself that he just can't avoid fucked up. It is a far more inward movie than any of his other auto biographical films. Pialat has always…
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Absolutely wonderful, touching beyond measure. Depardieu reprises his role in LOULOU here (it's as almost if Huppert decided to have that child and Depardieu got a high-paying job). The gracefulness of the script is particularly impressive; time seems to stretch, and Pialat can pack so much into the vacation sequences in Mauritius (they reminded me of Claire Denis and Doillon) and the shattered, Parisian domesticity. In a chronology of events that is seemingly random, the kid seems to be its only immutable element. Three heartbreaking scenes toward the end moved me like nothing else: ex-wife's boyfriend telling Depardieu to be more present in his son's life; when he lurks at his son without calling attention to himself (cf. an almost…
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O Garoto estreava há 25 anos na França.
Pequeno pedaço de realidade que se transforma num pujante retrato da relação de um casal divorciado com seu filho e as pessoas que os cercam. Considero um Pialat menor, mas um Pialat menor é ainda acima de muita gente.
DVDrip no MakingOff. -
Only Pialat has the ability to tame Depardieu's propensity for mise-en-scene consuming theatricality as well as move the audience to empathize with the discomfort of a toothache.
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Had a hell of a time tracking this one down, but it was worth the effort. This is Pialat's last feature, and I have to imagine he sort of knew it would be. It really closes the book on the subjects he spent his career exploring.
Depardieu is at his tenderest here, actually owning up to his mistakes and abuse and charting a way forward. So much of the brilliance of Pialat's work to me has been seeing him tease out the complicated nature of abuse w/o flinching or giving quarter to narratively easy apologism.
This film is maybe weaker for not giving us as much of that ambiguity. But it's definitely interesting to see one of his films reaching for kindness.
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Si creían que el mejor uso de la canción Rhythm of the Night era en Beau Travail de Claire Denis, no subestimen a Maurice Pialat.
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That toy truck that Depardieu's character buys for his son, is absolutely brilliant I want it and surprisingly enough, not the best thing about the film. It's probably Pialat's sublime direction.
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Understood maybe like 2 words. Language unhinged from immediate meaning. Also Gerard Depardieu stays being confusingly attractive.
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A most moving final film from French director Maurice Pialat in which Depardieu's physicality is employed as a destructive element, for himself and everyone and everything around him.
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Don't say to me that Pialat's swansong isn't a spiritual follow-up to his own 'Loulou'!!!
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Avec ce récit décousu, Pialat propose plutôt une succession de moments de vie. Il valorise l'émotion pure, avec un Gérard Depardieu toujours formidable. Je pense que c'est vraiment chez Pialat qu'il est le meilleur, le plus beau, le plus humain car le cinéaste réussi mieux que personne à saisir l'ambivalence entre son physique imposant, quasi-monstrueux, et sa sensibilité infinie. Et ici dans un rôle de père, c'est très beau.
