Herzflimmern

There have been a million coming of age stories in the history of the world, most of them probably in the film medium. What a pathetic thing to have to endure something as trite as the American film American Pie when something like The 400 Blows exists. Murmur of the Heart will remind most of that classic, and, akin to French films such as Zero for Conduct, The 400 Blows, and Malle's own Au Revoir Les Enfantes, it is excellently acted, both by the adults in the film and the children (here, though, they're teens), and it is infinitely more truthful than most American films of the same genre. Murmur of the Heart falls just short of The 400 Blows, but it is a worthy successor to it. Beware, though. This film's main theme is sexuality, and there are some very disturbing scenes, even thought the mood of the film is quite light-hearted. 9/10

It's high comedy. It's French bourgeois lifestyle. Louis Malle's delicate style of working with taboo subject matter reached a personal plateau with a dysfunctional household in "Murmur of the Heart", an early reach back into his own garden of memories and familial idiosyncrasies that he has stringently plucked from over the years. He approaches it with an innocent intent, cheeky, but still innocent nonetheless. Through the nostalgic and mean-spirited jibes at the domestic help, clergy and stiff-lipped crust of high society, it commences on a journey of an adolescent male, Laurent Chevalier (Benoit Ferreux) in Dijon, France circa 1954. He longs to break free to that stage of enlightened adulthood that seems just within reach but yet so very far. But within its pith, it's the very antithesis of melodrama. Taking on its inviolable subject matter's horns with both hands, it wrangles it to the ground while giving us something to think about. It's definitely not about exorcising ghosts of the past but to let them regale us with stories of unforgettable youth.

After 35 years, "Murmur of the Heart" still rings truer and closer to home than most contemporary comedies (and even dramas) revolving around the "coming of age" and "sexual awakening" in a young teen. It's also more daring and liberal in its construction of key family members being part of that very natural formation of sexual DNA and identity. They discuss philosophy. They discuss suicide. They discuss "The Story of O". Laurent and his 2 older brothers consort in disrespectfully petty behaviour contrary to what their upbringing holds sacred. Laurent's a top student, an intellectual that sees the world around him as a playground. It's a smalltime superiority complex as he defines his sensitive sensibilities with discernment beyond his years and a haughty disregard for divergent thoughts with a self-important air.

Revolving primarily about Laurent and his mother, Clara ("L' avventura's" Lea Massari), it's a refreshing look at a parental relationship based around adoration and fondness (coming under constant mocking by his brothers) than the contemporaneous and contemptuous notion of disdain and rebelliousness surrounding the authority figures and generational gaps. It underlines the idiom of a mother being her son's first love. In its essence, it encapsulates many complicated mother-child relationships including the emotional Oedipal issues that do crop up. And through that, a lovely parallelism is wrought with its interpretation of a woman who wants to be a girl and a boy who wants to be a man.

Conforming to an almost sitcom style, its self-dependent, autonomous scenes and situations just about start to border on farcical proportions. Its characters place sex and carnality high up on a pedestal, while Malle condescendingly films it as something so pedestrian and run-of-the-mill, not worth the hype and excitement over it anyway. He makes the patient, inevitable buildup to a key sex scene that had caused controversy when it was first released, to seem more natural and accepting than he does the sexual encounters that actually do seem the norm in society.

La Soufflé au Cour really manages to make you question well-established values. Made in 1971 I can really imagine how it deranged the society and made the French film censure think twice before allowing it to be published. As a provocative film there's no doubt it's still timely. Louis Malle breaks taboos with a spontaneity that makes me as a viewer question if I've missed something growing up.

Malle seems to me to be above all a magnificent story-teller. There is no apparent message in La Soufflé au Cour, instead Malle let's the viewer make his own assumptions, based the deceptively realistic happenings and surroundings.

It's an unforgettable film, but watch out. You might be influenced by it.

Only in France would an otherwise typical coming-of-age comedy lead up to a tender moment of incest, and perhaps only Louis Malle could have filmed it with such grace, tact, and good humor. The director's adolescent alter-ego is a gangly, jazz-happy son of a wealthy gynecologist, teased by his two older brothers, coddled by his cosmopolitan young mother, and suspicious of his father confessor's less than spiritual attentions. The discovery of a heart murmur sends him and his mother to a distant spa, where fate and nature conspire toward a fleeting indiscretion. But because Malle takes the time to establish his characters, and does so with such obvious affection, the moment is not as racy or obscene as it sounds. Curiously, the young hero's growing pains are also linked to his country's problems in Indochina, so is it any wonder, with the adult world in such turmoil, that a boy would rebel against the conventional wisdom of his elders?

This is one of my all-time favorite films.

Young Laurent Chevalier, his mother & his roguish elder brothers break every taboo known to small-town 1950s Dijon: underage drinking, underage sex, blasphemy, incest, petty theft, adultery, art forgery, whoremongering, drunk driving... What more can you ask? Malle treats their escapades with such lighthearted sympathy & wit you can't help liking them.

Before I first saw Soufflé au Coeur, I read a blurb for it in the monthly listings of my local repertory cinema that ran something like this (I quote from memory): "This film does a lot to restore the French to their former reputation for sophisticated naughtiness." I can't sum it up any better than that.