Traumatismes

The successful writer and professor of architecture Nick Kaminsky (Kevin Anderson) returns from New York to Elderstown to visit his biological mother Lillian Anderson Munnsen (Kim Novak) that is terminal. Nick does not know Lilian since he was adopted when he was a child but he pays the bill for her to stay in a private room in the hospital. While walking on the street, Nick stumbles upon his former college friend Paul Kessler (Bill Pullman), who is demolishing with his team an old department store building where a murder and a suicide happened many years ago. While talking to Paul, there is an accident and Nick saves his life. Paul invites Nick to go to the birthday party of his wife Jane Kessler (Pamela Gidley). Nick feels attracted by the building that is built in cast iron and asks Paul to visit it. Meanwhile Jane, who is a photographer, decides to take photos of the same building. They get close to each other and Nick learns that Jane was also adopted. Along the following days, Jane and Nick have a love affair and Nick discloses hidden secrets from their past.

"Liebestraum" (meaning love dream in German and title of a Franx Liszt 's composition) is a melancholic and beautiful film by Mike Figgis. The depressive story of a love affair in the 50's or 60's ended in a murder and suicide and the consequences in the present days (1991) is supported by great performances, wonderful cinematography and magnificent music score. The direction of Mike Figgis follows the style of film-noir and this film has been only released on VHS in Brazil. My vote is seven.

Title (Brazil): "Liebestraum - Atração Proibida" ("Liebestraum – Forbidden Attraction")

This is a very good movie, as discussed by Janet Maslin in her NY Times review of same. It is very moody and "atmospheric" with a lot of silence between the lines, and I like that kind of film. The best part for me came at the very end when the Franz Liszt piano solo Liebestraum begins playing, and then during the credits you see the full performance (about 4 to 5 minutes long) by the pianist. I don't recall her name, but she appears to be very young, has long red hair, and plays like an absolute master. Thus I became a huge fan of Liebestrum, and its composer. Something similar happens during the credits of the movie The Pianist, where the performance of the piano music is actually a highlight of the film.

I like films that are dreamlike and fluid, floating that wanders outside of the confines of self and story. At the same time I like them to draw fresh water from the well of mysterious non- self that underpins really anything that is exuberantly receptive to the world (passionate sex, dreaming, youth, all a part of it), wipes anxiety and restores our way of seeing to the far-flung horizons teeming with possibility that youth and early lovers know.

Lynch is a natural master of this deep swimming. Ferrara tried briefly at around the same time. Further back it was Rivette. A lot of film noir works in a similar way for me.

Here we have all these things; dreamlike in the way that Lynch is, about passion that dives in and perturbs reality, and a cinematic mind-bending swim in the waters. It's nominally a thriller, but written in waters, fluid about anxiety and self.

It has the noir engine where someone sets out to investigate and finds himself embroiled in mysterious goings-on. In noir that's usually a PI, but it doesn't have to be. Here it's simply a son whose mother has been hospitalized and he arrives to the small town to care for her.

He an architectural writer, she a photographer, both coming to explore an old building that is set to be demolished, but she has a husband. They unearth a story that took place in that building long ago, about illicit lovers discovered one night. We have some obvious symbolism in the building as obliquely shared past and as wandering through his own mind that is buffeted by anxieties.

And it has the notion of persisting memory where something that happened in the past is rising up again in the present. The noir drive is that the more he succumbs to passion, the more he is pulled as a narrator into a past story about similar passion.

So they fall for each other while he's unearthing a narrative of how that shattered lives one day. By investigating further, he comes to understand that he's tied to that story via his parents; his mother has been unwell ever since. There's also another son whose life is intimately woven to events of that night, an eerie figure like out of Lynch who by driving past the building one day causes someone to die.

It's all eventually made to align during a hospital visit late at night. Another invalid mother is wheeled out, central in events of that story. A metaphysical wiring between bodies takes place, bodies entered it seems by our knowledge of the story. The fateful coupling that upset reality takes place once more inside the building; once more a vengeful spouse is waiting in the shadows with a gun. But they say that they love each other. He's eavesdropping and stays his hand.

This is worthwhile stuff.

Noir Meter: 2/4 / Neo-noir or post noir? Post

I love discovering films that completely surprise me and have me wanting to discuss them for hours with friends. Liebestraum had a very strong effect on me, and then when I found the "unrated" version I was overwhelmed all over again.

I love films like those from David Lynch, but sometimes Lynch tries too hard to make his characters as strange as possible (Wild At Heart was absolutely his worst offering). Mike Figgis' Liebestraum has the look and feel of a Lynch film, but the characters seem to be wandering through a haunting yet gorgeous dream, seemingly all sedated (something in the water?). Because this film is so well done, the slow and dreamy quality gives it a life of its own and I loved every moment of it. Which leads me back to this "unrated" business of it...

I first saw the "R" version on VHS (having missed its theatrical release), and by accident found it was available in an "unrated" director's cut that is about 9 minutes longer. THIS IS VERY IMPORTANT: if you possibly can, see this longer version instead of the other! The one scene that takes place at a brothel is really the most important scene in the film, bringing several points of the plot into light! It shows that the prostitutes are also the same actresses as the nurses in the hospital, and a bit more insight to a fetish of Nick (Kevin Anderson) and the importance of the scent on his fingers. Once I saw this scene, the film made so much more sense and seemed like an entirely different film altogether! Apparently MGM decided to just put the "R" version on the DVD and place the brothel scene as a separate supplement to view as a "deleted scene." I'm afraid I may just hang onto my director's cut on VHS and watch that one instead. View that scene and you'll understand why it needs to be a part of the film.

Otherwise, WOW, what an experience. Nick's devotion to trying to save an old building with a dark past, the discovery of secrets and family ties....all beautifully revealed with stunning visuals and panache. Of course I found the story fascinating as well, so all these aspects when put together are breathtaking. Kevin Anderson, Pamela Gidley, and Bill Pullman manage give their roles meaning in what must have been frustrating to try and understand what the heck this film was going to really be -- It reminds me, for instance, Jessica Harper saying when she was working on Dario Argento's film Suspiria, she was not sure what that film was actually about because it was such an unusual project. But not to worry, much of Liebestraum's secrets are carefully revealed. It has been said Kim Novak's role was wasted since she barely speaks from a hospital bed in her scenes, but what else was she supposed to do?There must have been a reason she did the part anyway, and to hear Kim Novak utter a taboo word in one scene will make your jaw drop! Even Alicia Witt's brief dream sequence appearances and her performing the title piano piece along side the end credits is impressive. Now, if only I could get the soundtrack on the 10 Records label....anyone have a clue on that one? I've tried and tried and never could obtain it.

Accepting the surreal atmosphere in this film will help you then accept the equally surreal manner the characters possess. I've always been confounded as to why personalities are so guarded and bitchy in Hitchcock films, or even in many of the Italian giallos. Liebestraum's townsfolk seem to be on guard because you never know if someone knows more than they're letting on. There are mysteries to the town and the Ralston building and you have to watch each character like a hawk, as the film has subtle and symbolic clues (like the nurse/prostitute connection).

I was very impressed by the restraint used in the sexual aspect of Liebestraum -- this is the kind of film that had all sorts of opportunites to display nudity yet it held back (I wonder how many takes it took to get that towel on Anderson just right?), and made sex more sensual actually by giving us less to see.

I could go on about many scenes that had me awestruck, but that would take up too much space here! Nick's dreams and some creepy walks through the Ralston building are just a couple of the striking ones. See it to believe it for yourself, and I cannot stress this enough, hunt down the director's cut and see that one first if you can, you won't be sorry.

Some of the comments here on this movie seem to point in the direction that people simply don't seem to be able to grasp the subtle implications of this movie. The movie consists of two intertwined stories, one in the past and one in the present, and until the very end, the story of the present is a direct repetition of the story of the past, only in a different setting. And some of the people from the story of the past are still alive and present in the story of the present.

Most importantly, Bill Pullmans character, Paul Kessler, plays the repetition-role of the angry husband, who one generation ago killed his wife and her lover. Only Paul Kessler doesn't (yet) have an adulterous wife to kill, so his hate and anger is pointed at the building, in which the past act of hatred took place. Paul Kessler is the engine that drives the repetition-pattern in the present of past events, and the two main characters, Nick Kaminsky and Pauls wife Jane, can't help but to play their part in repeating history.

The love- and the hate-stories of the past and the present and their repetitive nature are the drives and motivators of this movie, and everything else evolves and is motivated from this pattern.

The movie really isn't that subtle, it simply can't be explained by mere deductive logic. It's a love- and hate- and crime- and almost a ghoststory and if you absolutely have to have an explanation for everything in this movie, the explanation would have to be found in the explanation of the present through the past and in the illogical event of the almost complete repetition of the past in the present.