Je rentre à la maison

Anyone who thinks this movie is boring is a horse's ass who should stick to car chase movies. This is a brilliant, moving, and subtle film that is all the more poignant because, it's director being a nonagenarian, it could well be his swan song, and that of its 76 year old principal as well. De Oliveira, like his lead character, will not compromise his principles by dumbing down his material. Much of the film is silent, i.e., with no dialogue precisely because it is a film, a visual medium, not a play. The done is set by De Oliveira's daring opening, which consists of its actor-character enacting the finale of an Ionesco play, which goes on for over 15 minutes. A daring move that pays off because, perhaps predictably, what happens in the play is a predictor of what is to come. The film is not unlike King Lear, in that it stresses the sadness of seeing one who once had greatness, and who still has flashes of it, in decline and perhaps at the end of his powers. It is a sublime meditation on the inevitability of death and the foolishness of fighting it. A minor masterpiece.

Rating: 9/10

This film by 92-year-old Portuguese film director Manoel De Oliveira is an 86-minute close observation of an elderly actor who seems to be mainly a stage actor. The film opens with a 15-minute scene from Ionesco's "Le roi meurt," in which the actor (Michel Piccoli) goes through the never-say-die speech of the 280-year-old king. After the performance, he is greeted backstage with the news that his wife, daughter, and son-in-law have been killed in a car accident. The rest of the film follows him in his everyday routines, into another performance (this time in Shakespeare's "The Tempest"), and then on to a film of James Joyce's "Ulysses." In between we watch him buy shoes, quarrel with his agent, play with his orphaned grandson, and drink espresso at his favorite cafe.

De Oliveira has a habit of filming performances at odd levels. For example, in "Le roi meurt," Piccoli has his back to the camera the entire time. During a quarrel with his agent, only Piccoli's feet in his new shoes are shown. He bashes the heels against the pavement when he's mad, rocks them back and forth when he's pleased--it's all there. When he is playing Buck Mulligan in "Ulysses" we only hear his performance, and gauge it by the reactions on the face of the film director (John Malkovich). The lengths De Oliveira goes to to confound his actors' egos and the audience's expectations are inventive and a bit peculiar.

I sensed that this film was more about De Oliveira than about the characters in the story. There isn't much dialog and not much character development. The theme of the king who will not die, who is egomaniacal beyond reason, perhaps is De Oliveira talking to himself. He makes movies into his 90s because it is his habit. He should be dead by now, but he's not, and because of that he has watched everyone he loves die before him. The possibility of trying to start a new life with a young starlet that is offered to Piccoli must also have happened to De Oliveira. He won't make himself ridiculous that way. "I'm not Casals," the actor says when told of the musician's marriage at the age of 82 to a teenager. I can hear our director saying that, too.

What he wants to do is stop working, rest, and mourn his losses. This is, I feel, a personal film and all the more moving for it.

I'm Going Home [Je rentre à la maison (2001)] is a

masterpiece from Manoel de Oliveira. This film is quiet,

fascinating, and truly memorable. de Oliveira has chosen

the aging, brilliant French actor Michel Piccoli to portray an

aging, brilliant French actor. The combination of skilled

director and skilled actor results in an almost perfect film.

The plot is basic and could be summarized in a paragraph.

What makes this movie a masterpiece is the manner in which

de Oliveira sets up each scene so that it is an organic

entity--linked to the scenes before and after it, but nonetheless

able to stand on its own. Each scene is, in fact, a small

masterpiece.

As an example, Piccoli's character is seated in front of the

mirror, while a makeup artist carefully, skillfully, and

professionally adds makeup. The scene is shot as if

through the mirror, so Piccoli and the makeup person are

looking at us to check the results. A man stands quietly in

the background. At first we don't understand why he is there.

Then, the makeup artists pauses, and the man begins to

place a wig on Piccoli's head. All three of these people are

portrayed as experienced, capable, and clearly expert at what

they do. They work quietly and efficiently in a manner

expected of people who have done this before, and will do it

again. The man steps back, the makeup person begins to

add a moustache, and, by the end of the scene, Piccoli's

appearance is transformed. A gem!

Think of this movie as if you were at an exhibition of Vermeer

paintings. You move from painting to painting. Most of the

works are small, often just one or two persons are portrayed,

and the lighting and composition are perfect. Each painting

is a masterpiece, and together they create a brilliant exhibition.

This is "I'm Going Home."

If you want bright colors, action, large expanses of flesh,

multiple characters, and constant movement, find an

exhibition of paintings by Rubens. Perhaps equally enjoyable,

but not Vermeer, and not de Oliveira.

This is a superbly played, superbly framed film about a very interesting idea. It is simply three times too long. The film follows an aging actor, Gilbert Valence (Michel Piccoli), from the moment he learns his wife, their only child and her husband died in a car accident, to the moment he suddenly turns old.

Valence, who is either shown or heard in every scene, has very few words to say except when playing, first in Ionesco's Le Roi se meurt, then in the Tempest (both in French) and last while shooting a film in English, Joyce's Ulysses. That last role ends with the title words, I'm going back home, when Valence simply walks out rather than deal with his failure to master Joyce's words while keeping the wanted character and pacing.

The remaining minutes show him walking in a Paris suburb, from the studio to his home, while mumbling his role in English. This gives us the time to realize that all the while, since his wife's death, he's been sticking close to home, going through the well-known daily habits of his life, and equally well-known roles. Only the short appearance in Ulysses would have taken him into new territory. Turning old is choosing not to go outside the life one knows. In Valence's case, it's rather not going outside of what is left of his life, once the most important people in it have been killed.

The only other major speaking role belongs to Valence's agent, Georges (Antoine Chappey). Unfortunately, it is marred by an absence of those concrete details that convince the viewer that this is not sketch for a character, but a living human being. One scene, for instance, has Valence refuse a TV role which Georges is pushing because of the money involved, but Georges only gets to call it "lots", without giving even an approximation.

That deficiency in realistic detail mars other aspects of the film too. However, John Malkovich, playing the American film director, breaks through, he is quite convincing. My suspicion is that he wrote his own lines.

Even if the deficiency were fixed, though, Oliveira would still only have material for thirty minutes. His own failure is in not facing up to that. But Piccoli's playing is sublime, and the wordless showing of Valence's implicit choices through well-framed moments, is also a lesson in filming.

I like to think of myself as a movie buff, but I'm not. I am a novice, in training. I had never heard of Portuguese director Manoel de Oliveira but it turns out he is 93 years old, still active and has therefore been making films for most of the era of "talkie" cinema. So, "I'm Going Home". This is a film I would never have dreamed of going to see. I ended up at the cinema by default without realising that it would change my view on a lot of things and make me feel better without realising that I felt down.

I had no idea or preconceptions of what this would be like. The only person I was familiar with was John Malkovich (sp?) I'll get back to him later.

The film starts off with a play, and it's a play I would love to see. The audience (in the film) watching the play are enjoying it immensely and it is obvious that Gilbert Valence (the wonderful wonderful Michel Piccoli)is a well known stage actor, much loved by his French audience. Valence comes off stage to huge applause but then receives the worst kind of life-changing news.

Cuts to "some time later" We hear no dialogue from him until we see him in his next play. This is clever- unless he is on the stage, we only see him from an outsider's point of view. He is in a bar and we can see him talking and ordering but all we can hear is the white noise of Parisian traffic. And then vice-versa so for a while, he is always on the other side of the window to us.

He meets his agent who is a partonising, unsympathetic character. Valence doesn't understand why he keeps offering him roles he would never take. Valence feels out of sorts with society. His world has been reduced and he is surrounded by people he doesn't understand and whom in turn, don't understand him.

Enter John Malkovich. He is John Crawford a director of a Franco/American production company who desperately needs Valence to be in his new version of Ulysses (James Joyce you idiot!) (no, I've never read it either). His opening speech to Valence is a text book example of tactlessness and I wonder if M. de Oliveria has often found himself on the receivng end of the same, ageist treatment

My favourite scene is when Valence is trying his absolute hardest to get the part right. Malkovich is trying to keep his cool but is obviously getting infuriated with this poor frenchman who is trying to read an English-speaking part in an Irish accent (which he has three days to prepare for). The scene consists of a close-up of Malkovich's face as he winces and squirms, looks hopeful then despairs again, whilst we listen to the sound of Valence doing his best in a part that he wasn't born to play.

The film is full of so much apart from the story line and gives much food for thought on leaving the cinema. Is he really so out of sorts with the world? How can he be, when his grandson adores him completely and young girls find him very attractive (a fact that he finds hard to deal with)? Surely it is the bad side of modern society that he can't cope with in the same way the rest of us can barely cope either?

There are also shots in this picture that would make Martin Scorsese drool. I won't bother describing any because that never works, but if I noticed them, they must be good!

I probably make it sound like a melancholy old-duffer movie but it isn't. The dialogue is sharp and often very-funny, there are nice little sub-plots and elegant touches such as people drinking in sync with each other except for Valence. Subtle stuff that you have to watch out for.

I won't give the (abrupt, but for a reason) ending away but the way the title is used- it's something we can all relate to and wish we done ourselves!