Providence

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.

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.

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.

This is one of the strangest movies I know. French intellectual aesthete meets contemporary British playwright - this should be the title of Providence. When two completely different cultures meet for a common project, the risk of failure is enormous. But in this case something interestingly and uniquely hilarious was created. Providence is a feverish dream that was successfully created for the screen.

The dream sequences of an old, dying writer, played by John Gielgud are absurd in a very British way. John Gielguds's upper class "king's English" voice-over adds effectively to its strangeness. As usual in contemporary British plays, sex and bowel movements are of the utmost importance . no, the script as a whole is neither very original nor particularly funny. I liked the incongruous, illogical situations though. Every now and then, in the most impossible situations, a strange, sickly looking football player (he seems to have fallen off Monty Python's Flying Circus) jogs limply past.

Director Alain Resnais is responsible for the dreamscapes, and they make Providence worth watching. Real settings are artfully distorted into haunting, surreal spatial sequences. Foreground and background, light and darkness, different textures and beautiful color arrangements are expertly arranged into a world of its own that is never too far from reality. One is sometimes reminded of Magritte's surrealistic paintings. Strange sounds add to the almost psychedelic effect the dream scenes have.

The acting is remarkable, especially Dirk Bogarde as the writer's slick, cynical «dream son» gives an outstanding performance.

I saw this film at release and have seen it several times since and this motion picture still holds up, a seemingly complex story that unravels steadily

throughout the film. Resnais uses every dramatic device available to tell what becomes a moving and tender portrait, not least visual puns, particularly a

sequence where Dirk Bogarde drives across "town", in which a very simple

montage predates digital morphing as seen in current commercials, smoothly

linked through the activity of the character. All good Resnais films include an examination of the minds of his characters and this is a superb twist-and-turn reality that involves us completely. The acting of course is flawless and includes a wonderful pairing of the great Elaine Stritch and Ellen Burstyn. David Warner, a personal favorite, is actually given the opportunity to act and steps up to the plate and compliments Dirk Bogarde's cool and wooden portrait. I regularly look for this release on DVD and am consistently disappointed. Could someone

publish it soon?