Daddy Nostalgie

Faultless in execution - but I couldn't relate to the characters, nor to the situation. Neither tragedy, nor comedy ... it just dragged on interminably. I only watched because of a certain nostalgic feeling for the bygone days of Dirk Bogarde; ironically I found Jane Birkin's performance much more engrossing (his, not at all, actually). Or, perhaps it was her beauty and animation that kept me watching.

The other reviewers have captured the essence of this beautiful film about a family searching for love, relationship, meaning. For me it was a bittersweet viewing as I am a devoted Dirk Bogarde fan, and this was his last film. Bogarde, according the the special features section of the DVD, didn't want to do the film to begin with, but changed his mine. How grateful the film audience is for his decision! I noticed his voice had changed somewhat -a bit higher in tone, perhaps because he had aged, or perhaps his characters situation in the film. Still, it was pure Bogarde, subtle, intense, utterly and completely believable always. With the addition of a beautifully written script, exquisite scenery, and the fine acting of Ms. Birkin and the supporting cast it was a delight. During the special features section Ms. Birkin was interviewed and had nothing but lovely things to say about Dirk Bogarde, his special sensitivity to her during the filming, his aid to help her through difficult scenes, etc. The film world lost one of its finest when we lost Bogarde.

Lovely swansong of actor Dirk Bogarde, playing an English businessman who is dying after a heart operation which only served to postpone the inevitable. The film is an unforgettable final weeks of close interaction between father and daughter (Jane Birkin) which never happened earlier in their life. The mother, a devout Catholic and a bridge addict and once beautiful, is not a person of high intellectual capacity. Bogarde and the charming Jane Birkin are used by Tavernier to put together a family film that could have been a Michael Powell (of Powell and Pressburger fame) product and by a coincidence Powell died the year this Tavernier film was released. Tavernier dedicated the film to Powell, whose works must have made an impact on Tavernier. Bogarde died 9 years after this film. The film belongs to a mature, beautiful and middle-aged toothy Birkin; Bogarde; and Tavernier. The original story was written by Colo Tavernier, who was Bertrand Tavernier's former wife (they divorced in 1981) but the film was co-scripted by both Bertrand and Colo. I wonder if Tavernier was influenced by another Bogarde film, "The Night Porter," in crafting the considerably different-end sequence in his film, with the rainy weather and the camera following the character(s) along the sidewalks.

After extensive heart surgery, a retired businessman living in the south of France returns home to convalesce. There he is visited by his daughter Caroline. As his health declines, Caroline is confronted by all the familiar behaviour patterns of her relationship with her mother and father.

This is an exquisite example of cinematic subtlety and understatement from Tavernier, Bogarde and Birkin. Tavernier enables his actors to create an intensely realistic 'family' - proud father, long-suffering mother, loving yet insecure daughter - all struggling to come to terms with the fragility of life. Bogarde and Birkin are deeply moving as father and daughter, clumsily struggling to communicate as adults after a lifetime of parent and child, and Laure provides selfless support, raging silently against the inevitable.

As a study of life's finite nature, this is faultless. As a final outing for Bogarde, it is a fitting and extraordinary tribute to a master-craftsman of the cinema.

Dirk Bogarde is wonderful in his last film. Everything we remember from the past is here: the laconic smile, the raised eyebrow that seems to say Oh, really?, the perfect timing. Add to these the lassitude that comes to those whose hearts are functioning far below standard--the story starts just after his heart surgery. Jane Birkin is playing a character for once whose life is not a caricature, as it was in too many of her films--you don't remember the Gainsbourg years when you see her here. Odette Laure as the mother is new to me, but she plays very well indeed; she is the watchful manager of her husband's declining resources.

The use of flashbacks slows the film down, makes it less tense, but that is a minor cavil. The final scenes, with the exasperation of the beginning gone, are terribly poignant: the setting sun remark from Caroline, Daddy's comments on the management of pain as they stand in the garden, then the discussion of love in the car. Here the cinema goes as far as it can in expressing regret and acceptance.