Quand la mer monte...

While The Tide Rolls In details the flingy romance two schleps get into. The female is a sort of a unattractive, yet successful performer, doing a DREADFUL one woman show. The guy seems to be a desperate creature who is one short of a stalker when he follows her around after a show in which she chose the guy to join up on stage with her. After he keeps showing up, rather then phoning the police, the woman sort of FALLS for the guy. Now, if that's not really the WRONG thing to do, then I don't what is. Anyways, they go up and down the coast of France to perform her silly clown one woman show to large theaters (yeah right) to seniors homes (more likely). Anyways, they learn a lot of each other, and well, that's about it.. Pretty unremarkable.

That movie is very sweet. At first, you can't help asking yourself what kind of asylum you've been to, but quickly the story takes you and you live the story with the characters.

The movie is about the loneliness of artists on tour, the kindness and simplicity of people from the North of France and last but not least, it is a nice love story between ordinary people.

Yolande moreau is famous in France thanks to Les Deschiens a TV program. For her first direction (actually co-direction), she chooses the perfect story. As an actress, she is also marvelous.

Go and see it if you can, that's worth being seen.

In French cinema,Yolande Moreau and Josiane Balasko share a very special status.They are an integral part of a rare breed of talented actresses who have also taken up film direction to broaden their artistic capabilities.In this manner it can be stated that there are a lot of similarities between Yolande Moreau and Josiane Balasko. However,there are also many differences in their style and treatment of innovative ideas.Josiane Balasko has made some quirky films which have a dream like quality to them.Yolande Moreau seems to be taking the same path with her own wisdom.Quand La Mer Monte has its fair share of happy moments but a lonely mother meeting an innocent loser type material is not at all new for French cinema.However,it is the presentation of this film which is quite unique.We also get to see many talented Belgian cinema actors such as Olivier Gourmet and Bouli Lanners.This is what makes Yolande Moreau an endearing character.This is a film which has been set in northern France,an area considered as backward by people from South France.The film is charming but it has its own annoyances too.By the time viewers are halfway through the film they are able to correctly guess that it would end with a sad event.This is the only major drawback of this deeply personal film as it is strictly for those cinema fans who would like to watch Théâtre Filmé/filmed theater.

"When the Sea Rises (Quand la mer monte...)" is like a French intellectual "Almost Famous" about grown-ups, with a frisson of the Italian "Bread and Tulips (Pane e tulipani)" about a middle-aged woman's self-discovery.

When Hollywood realizes that an American adaptation can be made by touring small towns, I'm sure the lead will not look like Yolande Moreau's "Irene" 45-year-old Roseanne Barr-look alike comic performance artist touring a satirical one-person show that's translated as "Nasty Business: Sex and Violence." The American will be a thin, pretty chick singer and the never-seen husband (probably will just be a fiancé) at home will be a lot less sympathetic and there will not be a child there to make her feel that much more guilty.

Doubtless the U.S. version will play up the contrast between romantic lyrics and her life, while this very unusually finds the feeling behind feminist humor about romance. There's funny lines that can be taken verbatim, as she mulls over "sugar waffles or romance". Yes, just her coming out on stage in a shapeless shift with a gargoyle-type mask seeking a lover she declares her "chicken" is funny, let alone that the red powder we see her cover herself in is ostensibly the blood of her last lover. The film sweetly illustrates that old stand by of why a woman chooses a guy: "He made me laugh."

The work a day world of touring the provinces that we don't usually get to see in French films is marvelously portrayed and is based on the co-writer/director/star's own experiences on the road, as we see many different performances of her actual show and how audience participation changes it. There's very amusing vignettes of the trials and tribulations of performing in county fairs, nursing homes, primary schools and cultural centers of no interest to most in the community to a high-brow comedy festival (with its too heavy-handed, very French philosophical discussion about what is comedy and can women be funny). We can get the class differences of beer vs. wine drinkers without this kind of talk.

The groupie mechanic she attracts is more problematical and his attitude and actions constantly keep us off kilter. Is he a stalker? Does he have a screw loose? (The American version would make much more of the background TV news stories about a serial killer con man on the loose to raise our and her suspicions.) Can he tell fantasy from reality as he follows her around and ingratiates himself into her show every night as he seems to react to her brazen stage persona so different from her off-stage life, like Leslie Caron with the marionettes in "Lili" or like the hypnotized Giulietta Masina in "Nights of Cabiria (Le Notti di Cabiria)." Does he separate her on and off stage or is she changing? Her discomfort at being seen as "silly" becomes her ultimate put down of him.

His side avocation of providing the giant puppets for floats (in a poorly translated explanation) for colorful parades seems too symbolic, but is a lot of fun to see, especially as he morphs into her fantasies, such as imagining him as Don Quixote. It almost seemed a satire of all those chick flicks where the up tight woman finds romance in a little village that just happens to have a festival, as in "Under the Tuscan Sun" and "A Walk in the Clouds," as this guy and his cohorts bring their own parade with them. One scene where they chase live chickens on the road is way too obvious.

The road trip is presented through lovely cinematography, particularly as they take side trips off the beaten path at beautiful settings and surroundings.

The poor subtitles significantly blunt the film for English viewers, and not just for what seems to be poorly translated jokes. Not only is there a confusing scene where English subtitles are put directly over French ones as the character is speaking in another language (Flemish I'm told) so that they are illegible, but the opera lyrics aren't translated. This turns out to be crucial for those who are made to feel embarrassingly uneducated, amidst feeling charmed by the film, as I didn't realize that was "La Traviata" playing over and over and that the libretto had some resonance to the story. Similarly, it was only by staying through the last credit that I discovered that the movie's title referred to a song that was evidently also not translated so I missed that meaning.

The credits very nicely thank all the towns and audiences where the show was performed.

An American version would also have a different ending.

An attractive and unsettling film about how we act when placed in unfamiliar situations, and how relationships can creep up on us in spite of ourselves.

The characters are cleverly handled - the female lead, comedian/actress Irène, is touring Northern France with her one-woman show, in which she plays a hideously masked widow with a horrible secret. The show is ironically titled "A dirty business: sex and crime". Yet she appears comfortable in this role, and has a settled family life, evidenced in her cellphone conversations.

The male lead, on the other hand, despite his uncertain role in the conventional socio-economic matrix (he is frequently described as a "drifter" in many reviews), also challenges the viewer's easy assumptions by displaying strong moral, artistic and cultural roots. It is he who challenges himself by joining in Irène's show, and who ultimately displays the stronger moral sensibilities. He also has a sympathetic circle of friends, and a happy social life, which contrasts sharply with Irène's lonely hotel nights.

These complex characters retain our sympathy throughout, while continuing to unsettle us. Each of us, in our lives, whether we are like Irène or Dries, is only a choice (whether good or bad) away from entering a strange and possibly wonderful, possibly damaging relationship.

The quirky, alienating sets (including a steelworks and a Flemish giant-maker's workshop) and geographical location (straddling the Franco-Belgian border, where Flemish and French cultures overlap) add to the film's interest, and give it a powerful sense of place. Dries himself is a native Flemish (Dutch) speaker, and the return to his adoptive parents' house, which provides a brief (unsubtitled) plunge into the Dutch language, is bewildering for both the viewer as well as Irène (although the actress playing the character is herself half-Flemish).

Ultimately, the film is both sad and uplifting, and challenges our assumptions about the way we value individuals on the basis of their roles in society.