La noche de Varennes

I frankly don't find much value in movie reviews, amateur or professional, so I won't belabor my points. Simply put, this is the smartest film I've ever seen. A coherent plot and intelligent dialog are critical to my movie pleasure, and this one has them. It is so good that it is almost novelistic, which is not to say that it could have been taken from a novel. Some review guide said of this movie that it is "talk, talk, talk." Exactly! The conversations are witty, charming, and often funny. Be advised that this is not akin to the insipid "My Dinner With Andre," with its metaphysical posturing. One must say this carefully about any movie, but there are actually things to learn from this film, though it is far more entertaining than didactic. The acting is mature and magnificent. I doubt that Mastroianni was ever in a better role. Jean-Louis Barrault and Hanna Schygulla are brilliant. This, along with his other excellent films, should have made director Scola one of the titans of modern cinema. Instead it has never made it to DVD and you will be fortunate to ever see it. (Update: It is now available as an all- region Blu-Ray.)

Few people have probably heard of this French film. Yet, it is a masterpiece. Some great actors brought this story of classical art cinema alive. The historical moment depicted is the period just after the French Revolution. Louis XVI and Marie Antoinette are making a final attempt to escape - they flee from Paris. Historical characters (Casanova, Restif de la Bretonne) and imagined characters are all joined by a trip in a stagecoach. This is an opportunity for us to discover different mentalities of the 18th century. Each character sees the French Revolution differently, but the viewer can sense its uselessness, the suffering it brought by tearing a whole world apart.

French novelist Catherine Rihoit is also an accomplished biographer and there are certainly biographical elements here. It approaches the realms of fantasy however to imagine that notorious adventurer and chronicler Giacomo Casanova, lecher/pornographer Restif le Bretonne and American revolutionary Thomas Paine would all be passengers on the same 'diligence' that is just a few hours behind the one which is carrying the French Royal Family in its desperate flight to Varennes.

This film of Ettore Scola is so splendidly realised and acted that the anomaly doesn't seem to matter and comes under the heading of 'artistic license'.

It is certainly nothing less than 'artistic' with sumptious cinematography by Armando Nannuzzi, superlative production design by Dante Ferretti and understated score by Armando Trivaioli, all of whom are masters of their craft and who have worked with some of best directors in the business.

The legendary Sergio Amidei who died before the film was released, has contributed to the screenplay and among those privileged to speak his dialogue are Marcello Mastroianni as Casanova, Jean-Louis Barrault as Restif and Hanna Schygulla as a Countess who is also a lady in waiting to Marie Antoinette. Her presence on the the same coach is therefore more plausible.

This talented trio are absolutely mesmerising. Barrault's film appearances are rare as he was primarily a stage actor and director who ran his own theatre company with his wife Madeleine Renaud. The fascinating Miss Schygulla has the distinction of having survived the making of numerous films with Fassbinder. It is the performance of Mastroianni as raddled, dissipated Casanova that lingers longest. He has reached that sublime state when he has ceased to act at all and simply 'is'. Harvey Keitel as Paine has been cast for the benefit of the North American market and is 'dubbed' as one would expect. He is a wee bit young for the role as Paine would have been in his late fifties at this time.

The post-synchronisation, always a hit-and-miss affair in Italian cinema, is generally very good.

There is a delightful scene where Casanova sings a few bars of Leporello's 'catalogue' aria from Mozart's 'Don Giovanni'. Legend has it that Casanova helped da Ponte with the libretto. Perhaps he was also 'technical advisor'!

A beautifully made film that just sustains its running time and typifies both the traditional excellence of European costume drama and its preference for character over plot. Not to mention its appeal to a more literate audience.

Although politically Ettore Scola does not appear to take sides, all that we see of Louis XV1 and Marie Antoinette are their lower legs and feet whereas there are plentiful close-ups of the downtrodden peasantry.

This director has always been fascinated by history and the part played by 'ordinary' citizens. "The flow of history lies with us" he once said.

After having been annoyed by the candy cane music video of Coppola's "Marie Antoinette," I went in search of this film again. I had remembered liking "La Nuit de Varennes" when it came out, but 25 years later it looks much, much better.

A hostile person once defined French film as people saying wounding things to each other for an hour and a half, then somebody dies of cancer or a gunshot. This film redeems the stereotype, as people say wounding things to each other for over two hours and nobody dies (on camera, anyway).

Imagine "Stagecoach" with politics instead of Catholic redemption, then add a solid, witty script and great acting. Veterans Barrault and Mastroianni give canny, memorable performances and everybody else is just fine.

If your model for the movies is the roller-coaster or the video game, you will scream in agony. If you would prefer not to be insulted, this film will be balm for the soul.

Since the powers that be have decreed that this film shall fall between the cracks, it's worth a little research to find it on DVD. Google "That Night in Varennes" and check the first dozen results. It's the best we can do until the delinquent owners of the film come to their senses.

One of the most notable reviewers on this site condemned "La nuit de Varennes" to 2,5 stars (out of 4), but I am of the opinion that this movie should be appreciated better : there are not so many cinematic works in our times that are carried by such valuable concept,i.e. that preach and teach dignity and tolerance opposed to a laudable but often misguiding need to serve some higher principle. "Idiocy is the worst of treasons. - And no revolution will ever stop it." In Scola's historical comedy of manners, thoughts and emotions, Barrault's Restif is the key figure which spans a bridge between humble vox populi of Thomas Paine and aristocratic grandeur of Casanova. Watching this movie I felt like the spirit of wiser old Europe (which is still there, thanks to Scola a.o.) entered the body of Robert Altman's shape. French blu-ray with English subtitles is to be treasured.