Un barrage contre le Pacifique

This is a costume drama of solid but very routine production values. The theme is anti-colonialism. The French colonial authorities are shown as corrupt and oppressive and the colonist family at the centre of the narrative is economically hopeless and morally degenerate. Isabelle Huppert is a slightly crazy and clueless head of a family whose only assets reside in the sexual allure of its teenage son and daughter. These assets are exploited in an attempt to save the family's fortunes. They are an unlikeable bunch although some nuance is generated by Huppert who injects a little humanity into her character. The film feels slow-paced and over long and do we really need another anti-colonial tract?

The third time we've seen Marguerite Duras' childhood as a movie and they are all more interesting than her own films - which is not difficult. This is not a great film, though it is remarkable on period. I still prefer René Clement's deeply flawed version and I did enjoy the eroticised L'Amant.

Curiously this is the first one not by a French director and it's a French movie. Huppert is always watchable and, with her character shifted to centre stage, there is an interesting change of emphasis. The final shot of the actual rice paddy is resonant. Jo Van Fleet's version seems to come from another planet.

The picture of Colonial Cambodia here is more convincing, though the things that should be central are sketchy - the ex-school teacher mother's back story, her relationship to the locals, who she is supposed to be protecting.

Film adaptation of a novel based on Marguerite Duras with Isabelle Huppert and Gaspard Ulliel

This 2008 film (also known as "Hot Coast" in German-speaking countries) by Cambodian director Rithy Panh takes the viewer back to the French colony of Indochina, sometime in the 1930s. The widow (Isabelle Huppert, * 1953) of a French settler lives in miserable conditions with her two almost grown children. Joseph (Gaspard Ulliel, *1984) and his friend Agosti (Stephane Rideau, *1976) lead the sexually dissolute life of a colony playboy who is just waiting to return to metropolitan France. His mother - without any knowledge of rice cultivation - bought a piece of land that is regularly flooded by salty seawater. When the rich Chinese Mr. Jo (Randal Douc) expresses his interest in the very young Suzanne (Astrid Berges-Frisbey, *1986), mother and son sense a warm windfall that could fulfill all their wishes. Together they do everything they can to drive the still inexperienced Suzanne into a love affair with the old Chinese guy...

You can see that all the topics of the great writer Marguerite Duras (1914-1996) are already gathered here. Poverty and misery in the French colonies - everything that people in the mother country didn't want to know in detail. The novel that serves as a model here was published in 1950. In 1985, Duras achieved a sensational success on the international book market with "The Lover". In it she described the details of the affair with the old Chinese man, which probably contained a lot of autobiographical elements. Soon after the bestseller was published, it was made into a film by Jean Jacques Annaud under the same title. Duras's illusion-free view of the colonial efforts of the former world power France is simply admirable.

The two-time EUROPEAN FILM AWARD winner (for THE PIANO PLAYER and for 8 WOMEN) Isabelle Huppert shines as a mother who fights against decline and financial ruin.

Gaspard Ulliel (1984-2022) can exploit all of his film star qualities in his role. The dazzling-looking Frenchman also had beautiful appearances in "A Very Long Engagement" (2004) and in "The Princess of Montpensier" (2010).

The young Astrid Berges-Frisbey masters her role, modeled on Duras' alter ego, very believably. In 2011 she was also in "Pirates of the Caribbean".

Stephane Rideau has been unforgettable since his powerful performance in Andre Techine's "Wilde Herzen" (1994). In it he was confronted with the consequences of the Algerian War. Another painful chapter in French history!

By the way, the dike from the French title of the novel and film ("Un barrage contre le Pacifique") still exists today. It did not bring any financial blessing to Marguerite Duras' mother, but it remains as a memorial to her work there.

I wonder about the person who claimed that the films Duras made are not interesting. Her short subjects, made in the 1970s, are exquisite and her collaboration with Resnais on Hiroshima mon amour created the most penetrating anti-war movie I've ever seen. Her films are, admittedly, hard to come by, but well worth it. Working with actors like Jeanne Moreau and a very young Gerard Depardieu, she reaches deep into the psyche at a slow, relentless pace. The films require - and reward - patience.

'The Sea Wall' directed in 2008 by Cambodian director Rithy Panh is the second screen adaptation of Marguerite Duras's novel 'Un barrage contre le Pacifique' after the one made in 1957 by René Clément, a few years after the novel was published. The French writer was also a prolific screenwriter and collaborated with some of the best-known contemporary directors of her time with original scripts and adaptations of her books. I believe that she would have liked this film, which was made a decade after the writer's death. The screenplay follows the story with a strong autobiographical touch in the book, inspired by the childhood and adolescence spent by the writer in Indochina in the interwar period. The adaptation is faithful to the book, with an extra authenticity derived from on-site filming in Cambodia and the contribution of Rithy Panh who is also an excellent documentary filmmaker. It is one of those cases where the remake is justified and the result, although far in time, is I think closer to the characters and messages of the book than the first film.

'The Sea Wall' is the story of a woman, a widow who raises her two children, a 19-year-old boy and a 16-year-old daughter, in the difficult conditions of French colonial Indochina. Her rice plantation is located near the ocean and colonial officials tricked her by lending her money for land subject to meteorological whims. The construction of a dam goes beyond the simple necessity, it becomes a symbol of the struggle with nature but also of the confrontations with a bureaucracy that cruelly exploits not only the locals but also the French colonists who do not have enough money or relations to fit in the upper echelons of the social and economic hierarchy. The mother's war of survival overlaps with the maturing crises of the children, the difficult relations between the three family members being complicated by the need to survive economically even at the cost of moral compromises.

Marguerite Duras's Indochina in Rithy Panh's vision is a country of social and racial inequalities, and of political and economic conflicts presented unabashedly, in a realistic, almost naturalistic style. Between René Clément's 1957 film and this film version, the Cambodian tragedy of the 1970s took place and the Cambodian director did not hesitate to suggest that there, in the country's colonial past, lies much of the roots of the Khmer Rouge's cruelty. Isabelle Huppert creates here another of her great roles as a woman beyond her prime, who tries to navigate between the blows of fate and family conflicts, torn between the desire to raise her children decently and the compromises she cannot avoid. The two young actors who play the roles of young people, Gaspard Ulliel and Astrid Bergès-Frisbey are both excellently cast and act strongly, with a combination of innocence and sensuality, two characters who shape themselves as the story progresses. The cinematography plays an important role in creating the atmosphere, because the weather conditions decide the fate of the heroes. One can blame the film for a certain lack of rhythm. It could be an intentional decision of the director to involve the viewer in the sensations of the heavy flow of time that the heroes feel. The cinematic narrative omits or passes very quickly over some of the important aspects of the story, especially in the second part of the film, which may make the accumulation of events at the end less clear to those who have not read the book or seen the older version of the movie. Even so, I believe that 'The Sea Wall' is a film worth watching or watching again, which fits with honor in the series of films through which French cinema critically and without nostalgia revisits the country's colonial past.