Smoking/No Smoking

In Yorkshire, Toby Teasdale is the alcoholic director of a school and married with two children with Celia Teasdale that is very unhappy. They have a maid, Sylvie Bell, and a guardian and handyman, Lionel Hepplewick, at school. Toby's best friend is Miles Coombes, who is married with three children with the easy Rowena Coombes. Along the years, simple attitudes might have changed their lives.

"Smoking / No Smoking" is an awarded French comedy with a story based on the concept of Krzysztof Kieslowski's "Przypadek" (a.k.a. "Blind Chance") with variations of the lives of characters after the question "What might have happened?" Sabine Azéma and Pierre Arditi have awesome performances in the roles of several characters. But the movie is too long and excessively boring and talkative. "Smoking" is better that "No Smoking", maybe because in the end I was so tired that I was not paying attention anymore on the screen. My vote is four.

Title (Brazil): "Smoking / No Smoking"

These two gems have are an experimental, laid-back affair: instead of upping the ante visually, they have chosen to embark the viewer into a labyrinth of a plot, peppered with unforgettable dialogues served by nine characters, all played by two actors. Add to this the fact that this is also meant to be an anthropological view of that most bizarre people -the rural British- and you have a pair of truly unique and endearing movies, cinematic twins if you will.

Smoking and No Smoking end up being a double-treat: one of the most mordantly funny British comedy in years and possibly the best French films of their decade. The fact that Ayckbourn's spirit still flows with manic glee, filtered by Jaoui and Bacri's masterful adaptation, is a sizable feat when you know that French and British humors are generally deemed totally incompatible.

But despite the great texts, the unique sets (intentionally "theatrical"), the perfect, low-key costumes and the impeccable direction and editing, the real showstoppers are Sabine Azema and Pierre Arditi's with their multiple performances. Each and every one of their characters is played memorably, making for far more than an extended acting stunt on their part: you actually feel for and connect with each and every one of their incarnations, forgetting completely that they are played by the same actors, you are drawn into their characters' sometime painful, sometime painfully funny dilemmas (which all get resolved since all the possibilities are shown).

This is a UFO to me: a hilarious, touching comedy with absolutely no flaws (even though some have said the running times were a little self-indulging), an experimental film that "works" and never feels forced, a triumph of acting... I suppose some will find it overbearing, but actors, directors and screenwriters alike should make this one of their necessary (albeit hard-to-come-by) viewings because if you're caught by the magic on screen, you won't be turning back. Although the films can be seen in any order, i would recommend you start with No Smoking as it offers a more supple introduction to the films' "method" and characters and also because Smoking is probably the better of the two and thus, you've got a dramatic crescendo going for yourself.

For people who don't necessarily like French cinema or who don't understand the British: watch these,they're the kind of movie miracles that belong to everyone. They are that great.

I agree this is one of the best films made in France in the 90's decade : it is one you can view again and again without having completely mapped all the plot.

It is like a maze where one likes to get lost once in a while.

The two french actors are among my favorites. They have such a wide range of possibilities that they make this kind of miracle possible as a two-actor double-film possible ! Of course, this is obviously an "exercise of style", and it has a sort of theater atmosphere. But the theater is a very rich place for passion.

It also makes me think of 18th century french theater like Marivaux which showed so much characters under pressure.

Puzzling mess from Alain Resnais.

Resnais's films are always joint works with their usually renowned screenwriters. The truth is that the quality of his films depends a lot on those collaborators.

I'm not quite sure what interest he may have found in Alan Ayckbourn's supposedly witty comedy, but the five-hour-plus result starts out as slightly unfunny stupidity, and after an hour turns into one of the most mind-numbing movies ever made , whose viewing is an unnecessary torture.

The premise of the staging is artificiality: decorated with painted curtains, two actors each representing several characters, forcing the play to be a succession of duets, and the use of makeup, costumes as exaggerated and irritating as the performances.

The reason for this mess cannot be just the stupid game of showing the diversity of developments that can be triggered by minor decisions, or the simple show-off of the actors in different roles. At first we suspect that there must be something more to it, apart from the apparent and irritating stupidity without any substance. But after an hour and a half it seems like that's it, a boring game that promises to continue for another four hours. Inconceivable.

Resnais left us a handful of fine films, always harnessing his eye for brilliant framing and his revolutionary concept of editing, to stage scripts by famous collaborators. But very often, when the starting texts were not particularly valuable, his films remain pedantic exercises in style. Over time he got involved in the most unlikely projects, none more disastrous than this Smoking/no smoking whose possible original interest on stage is totally lost when it goes to the big screen.

Alain Resnais ranks among the major French director but it is hard to point out a topic in such a large panel of different movies from 'Je t'aime-Je t'aime' to 'On connait la chanson'. It's not so obvious to recognize at first sight the Resnais touch. Maybe, the only possible approach of Resnais cinema is to distinguish in it a kind of deep exploration of relationship between humans. It's obvious in 'Mon oncle d'Amerique' but it seems that Resnais has devoted himself to reveal fundamental basis of relation/communication that can exist between two human beings, as humans being in space and time and their cultural background. And, with its no-narrative structure, Smoking/No smoking is a wonderful playground for analyzer Resnais, showing beyond laugh (Sabine Azema's nervous breakdown in Smoking is one of the funniest moment of cinema I've enjoyed) and tears, silence and words, all the nuances that stem from our human part, regardless of what is due to facts and events.