Grande École

The production values aren't the best in this film, but one rarely expects better of a film festival entry. Seeing beyond that is what festival fare is all about, in my opinion.

Tha said, I was easily taken in by Paul and his emotional struggle. At first, I was put off by the ambivalent and quirky behavior of Paul and the others, but I began to recognize that this was a representation of the nuances of real life, as opposed to the packaged fare that Hollywood usually dishes out. What another reviewer found confusing to me was an invitation to get inside the heads of characters who, like real people, weren't exactly sure what they wanted or who they were trying to be.

The relationships were complex and yes, frustrating to figure out at times. But the acting was good--complexity is mush harder to convey than the broad-brush emotion that Hollywood paints larger than life. I loved Mecir--superbly acted--his earnestness nearly brought me to tears. I thought the ultimate outcome of Paul's relationship with him (and with Agnes) mirrored real life as well. And just when I thought Arnault was a shallow caricature, the character surprised me with intelligence (if cynical) and depth.

I agree that the third roommate (name?) disappeared mysteriously in the middle of the film; it had seemed he would play a greater role at the outset. The peripheral characters were neither well developed nor exceptionally acted, but are no reason to dis the film.

The film was marred for me by the extremely self-conscious and forced 3-minute conversation near the end about class struggle, corporate greed, etc. I liked these themes in the film, but this Cliff-Notes style summation was so artificial that I--and the audience I was with--laughed out loud at every pontification, each more hysterical than the last. My immediate comment was "it's like a French parody of the French!" Profound thoughts and deep convictions, spewed with piercing emotion--ultimately lasting as long as a cigarette and washed away with a glass of Bordeaux.

Except for that camp exchange, I very much enjoyed the movie and would see it again.

There's a touch of Rohmer in "Grande Ecole". Characters, set in unglamorous, surburban spaces, are just a little too intent and penetrating to be real. Their emotions are simple, yet surprisingly delicate. They experience no jealousy or revenge, but desire, self-doubt and tenderness. Like Rohmer's, Salis' movies feel too nostalgic and sweet to be topical, and that aestheticism is put to the use of tolerance and humanism. Sex scenes for example are remarkable. Homo- and heterosexual love become comparable because Salis makes caressing and enticing the cornerstone of every sexual encounter. The movie however becomes overtly theatrical towards the end, and does not tune in with the closure that Rohmer would have gone for. Salis resolves conflicts, by now difficult to disentangle, only by confusing the viewer to a point of no return and settling for the beauty of seeing all characters reunited finally, if not in the movie, at least on the screen: him and her, and him and her, and him.

I rented this film and just felt compelled to have to comment on it. This is one of those rare gems that stays with you for days. You can't help to admire the beauty of the Paul and Louis as you wish they got together. The music and men in this film are fantastic. The nude scenes and love making scenes are so beautifully done you wish you could join them and never leave and I'm straight!!!. The women were strong in their role and intelligently written. Everything about this film was artistically and beautifully made. The vision of the director certainly jumps out at you and grips you to the end. On the down side the movie does portray the sorrow of having to deal with feelings that sometimes are beyond your control. I applaud the director for using this cinematic language to describe the gut wrenching hurt you can suffer when you love someone so much when specially they don't seem to feel the same for you. I shall highly receommend this film and it should be one that every film lover should have in their collection.

Paul (Gregori Baquet) is attending a prestigious university in France. He has a girlfriend named Agnes (Alice Taglioni) who is puzzled why he won't live with her. Paul becomes sexually attracted to handsome roommate Louis-Arnault (Jocelyn Quivrin) but won't admit it, while handsome Arab Mecir (Salim Kerchrouche) makes it clear that he loves Paul. What is Paul to do?

Has its moments. When it sticks to Paul, Mecir and Louis-Arnault and the sexual aspect it's absolutely fascinating. But they continuously keep throwing in long boring speeches about business and politics that bring things to a screeching halt. Also (with the sole exception of Mecir) most of the characters are very unlikable and cruel. Paul's girlfriend especially comes across badly and Paul himself is whiny. It ends in a very muddled way with an unsatisfying ending.

The acting is all pretty good. Baquet is a bit too whiny but Quivrin and especially Kerchrouch are very good. The one sex scene is done very tastefully and there is quite a bit of casual female and male nudity (this would get an NC-17 if it had been rated). All in all not too good but some bright moments and acting make it worth a look. I give it a 7.

As there are enough synopses already written, I'll just concentrate on the feel of the movie. It does have some very homoerotic scenes with full frontal. But it also has some very dysfunctional themes; such as a man who is obviously homosexual but who chooses to stay with a long-time girlfriend. Were he bisexual, this would be understandable and even acceptable. But it just comes off as one confused character taking advantage of anyone around him that will let him. I'm not sure if this was what the film was going for, but no one seemed particular sympathetic here.