Providence

A dying artist, beautifully acted by Fainsilber, struggles to complete one last book before he dies - the plot of which becomes confused with his own troubled life as he thinks and dreams his way through the night. This was the first film in English for master film-maker Alain Resnais, and also happens to be one of his best. Using a variety of surreal cinematic techniques, Resnais is able to capture the characters of everyone in the film perfectly and his style - combined with excellent scripting - makes for an experience that will not be forgotten. Although the first half of the film will probably be spent in confusion, before you actually realise what is going on - I had to see this film several times before I was satisfied - it is worth struggling to understand this complex and thoroughly entertaining artistic movie.

Not enough can truly be said for this film. Equally, nothing can change people's reaction to it; it is an art piece which separates people. Early reviews from the period of its release seem unfriendly at least. Many reviewers found the film pretentious and constructionally difficult. Many claimed it attempted more mystery than it had a right to. I feel this was a film ahead of its time, and any pomposity in the film comes not from its center, but from its central character, Clive Langham (John Gielgud). This, more than almost any film of the 20th century, is a film which rewards the viewer for multiple viewings. If you are often accused of being obsessive, overly-analytic or just plain artsy, this film will tickle you in some very personal places. The message I will refuse to comment on, though it is very deeply personal to me, and, I would say, to all writers. But the "crux of the biscuit," if you will, is this: examine the title in relation to the film.

In Providence, his only film in English Language, Resnais again approaches the most recurrent subject in his career: the memory. Here, he explores how one's feelings can affect it: the life of the writer reflects directly on his view of his son and the wife of this one, and their respective (supposed) lovers, which actually are a representation of the writer's alienation, guilt and self-depreciation. It shows how memory can be more painful than any pain of the flesh, and even worse than reality itself. Like everything i've seen from Resnais so far (Night and Fog, Hiroshima Mon Amour, Mon Oncle D'Amérique and one of my favorite films, Last Year in Marienbad), this one is a very deep and original masterpiece.

Since so many good comments have been written here, mostly on the psychological side of the characters, and they are all excellent, I decided to comment upon a very present entity and that is WINE.

Notice that, until the last scene, everybody drinks white, mostly CHABLIS, an acid one. But on that last scene Resnais shifts to RED. It is no accident, it has in my modest opinion, a way that illustrates a very fundamental change in the feelings that occurred in that lunch.

Criticism and over-analysis, ever present till that event, give way to peaceful acceptance of the characters by the father, Without hypocrite sensibility, that he refuses, but with warmth and tolerance.

Well, I do believe, by some 55 years of experience, that white wine (dry, European style) makes one restless and sometimes bitter.

Red wine makes one more relaxed and happy.

I do not know which kind of wine Resnais prefers, but since he is a Breton I would not be surprised, that it is WHITE. Maybe that is the reason why His movies are so difficult to decode. They are also some of the most magnificent works of cinematic art..

Renais "Providence" has all the hallmarks of cinema at its artistic best. Every component of film making is expertly handled. David Mercer's literary screenplay is a joy to listen to, especially when delivered by the likes of Dirk Bogarde and of course the legendary John Gielgud. The visuals are haunting and perfectly shot with detailed attention to set and costume. Miklos Rosza's soundtrack is in total accordance with the work as a whole, never intrusive, while adding to the rich tapestry that is "Providence". Renais too has assembled a wonderful if somewhat odd cast, which suitably serve this somewhat odd film.

Gielgud plays a dying author whose mind is racing with fantasies peopled by members of his family. His character Clive Langham is depicted as a ribald, sensual, womanizer. Yet his fantasies, making up the bulk of the film, are curiously cold and stark. They are played in bleak settings with an ever present sense of impending catastrophe, though remaining totally devoid of emotion. These imaginings are at completely at odds with their creator. The extreme incongruousness of these fantasies with the character to whom they belong, remains a mystery. This detracts much in the way of emotional impact which is very much lacking in the film, whether intentional or not. The elimination of emotion leaves "Providence" a cold, wonderfully intelligent exercise in the art of film making.

Renais has assembled an intriguing cast headed by the superb Gielgud. Dirk Bogarde whose performances have often been tinged with a cold, sauve superciliousness brings this unpleasant quality to an unparalleled level of extremity. Even the usually over emoting Ellen Burstyn delivers a restrained performance. Elaine Stritch has to be the oddest choice for the role being so contrary to her well known persona. Never has a more unlikely coupling been presented than Stitch and Bogarde as lovers. Yet in this emotionless void, even that becomes acceptable.

"Providence" is a highly unusual, important film and shouldn't be missed by the discerning film enthusiast. Yet despite the wealth of cinematic craft on display it remains an unsatisfying experience.