Triple agent

acting seems very natural--story not engaging One thing I have to say about "Triple Agent" is that the acting seemed very natural and convincing. The actors and director (Eric Rohmer in one of his last films) did a very nice job. On the other hand, the film is extremely talky--very, very little actually happens and when things occur, you mostly just hear about them. This makes for a slow film--one that needed some energy infused into it.

The film is about a couple--Arsinoé (who is Greek) and her White Russian husband, Fiodor. When I say 'White Russian' I mean that he is a an anti-communist Russian living in Paris after the Russian Revolution. He heads an organization of fellow expatriates and is clearly anti-Soviet. However, as the movie SLOWLY progresses, Arsinoé hears a lot from her husband that confuses her. He seems awfully friendly with the Nazis AND the Communists. And, his business trips to Belgium actually take him to Berlin. What gives?

As I said already, not much happens in the film--or at least you don't get to see anything. It's all told through conversations at Arsinoé's home. This style of storytelling is really weak...and the film lost my interest despite the fine acting. A weak script dooms what COULD have been a much more interesting film.

Though denied a commercial theatrical release in the States (American indie fodder from Sundance now all but fills the old art house maw), this is a typically involving, if determinedly talky, pic from vet helmer Eric Rohmer. Known for his pointillist studies in manners & mores 'francais,' this late work tackles large political issues with a similar minimalist approach. In the years leading up to WWII, the last of the White Russians in Paris are struggling to maintain a presence just as the communist Popular Front comes to power and Stalin launches his deadliest internal purge back in the USSR. Rohmer keeps his focus on the wife of a Paris-based White Russian official as she watches for clues that might indicate just what side of the political fence this unflappably reasonable man leans toward. Or is he merely acting different parts for different situations? Rohmer's film-making is all essentials now, but the gusts of dialogue & functional camera set-ups needn't fool you. Rohmer remains an intensely visual artist with the easy mastery of the art that conceals art. Everyone is superb in their roles, but watch for Cyrielle Clair as a wealthy gossiping friend, she's Parisian chic itself.

It's a good sight to see that Eric Rohmer's latest film- one that I saw on the same day I saw Godard's Notre Musique- is finally released on DVD. Because, frankly, I was a little befuddled why I didn't see it get release in American theaters after it was screened that day I saw it at the NY film festival. It's a curious entry in that it isn't one of Rohmer's typical relationship/'moral' stories, and at the same time is working somewhat against its genre type. Here is a thriller that has that same deep fascination with its psychology and morality of the characters like Hitchcock, while perhaps lacking the wit and excitement of the master. But there are also major political implications in the works here, and the characters know this very well. It's before the times of Melville's Army of Shadows in that there isn't even a resistance against the Germans- just the brewing of something odd &/or rotten amongst the Germans, Russians and Spanish.

I remember quite clearly how much I appreciated and had a good view of these times through the struggles Rohmer painted in this couple of Arsinoe (Katerina Didaskalu) and Fiodor (Serge Renko). It's interesting too to see how Arsinoe is basically apolitical in the early part of the film, and yet through the circumstances that follow both health-wise and elsewhere in the world her views begin to change. At the same time there is a spying sub-plot that is given weight by the attention to the scenes with the characters as opposed to just outright action. There's something that is fond for a movie viewer when seeing such difficult times portrayed simply, but with the conflicts brimming at the seams. It's not only about the political toss-and-turning going on, but about the loss of their insulated relationship, and what ultimately leads to what becomes of them. It's based on a true story as well, which adds some weight to it, and it's also as I recall filmed with the clarity that I've seen in the other (few) Rohmer works I've come across. A worthwhile viewing at the festival, and hopefully will get some airplay on IFC or Sundance or other for fans of the old Cashiers alumni.

The action takes place in France, year 1936... An anti-Communist Russian exile that was on the White Army has to do such juggling acts to survive in those dangerous times.

Those who hate Eric Rohmer's works, his intellectual halo, his never ending dialogs will definitely hate "Triple Agent" as well. Yes, there are so much conversations, so many dissertations... and eventually you may lost the thread of the plot. I mean, this movie is not like "Summer tale", here you got stuff like spying and so, you have to know who's who, and that's pretty hard if the characters don't stop talking about anything. Maybe I'll have to watch it again so I get everything figured out.

PS: I'd like to underline the work of wonderful Greek actress Katerina Didaskalu. She's fascinating, and I hadn't have the occasion of watching her in a movie before.

My rate: 6.5/10

As is explained in the prologue to the film, it is based on a true story, although some names, situations and facts have been changed or added. The addition of any facts I feel were probably few, as the film wanted to give a sense of the unknown. The use of historical french newsreel footage throughout gives an partial documentary feel to the film, yet the fine direction by Eric Rohmer, editing and quality of acting draws you straight back into the story every time.

I came away from seeing this film at the Hong Kong Film Festival 2004 with many thoughts. The film has been very well written as a pre-World War II drama/thriller. With many twists and turns in the plot, most of them between the lead characters, Fiodor a 'white russian' (a russian against Joseph Stalins communist ideals) and his greek wife Arsinoe, who live together in Paris, the russian man being 'in exile'.

This is the kind of film that I could watch a hundred times and always come out at the end with different opinion of Fiodor, such is the complexity of the story. The acting benefits well for using actors with applicable nationality/heritage, ie Fiodor, russian, played by Serge Renko and Arsinoe, greek, played by Katerina Didaskalu. Giving the accent the right 'edge', especially in the case of Serge Renko, as the characters speak mainly french in the film. Serge also gives a proud russian 'stiffness' to his character making his behaviour very creditable.

The locations selected for the filming were well chosen and the set's well thought out. Some people may find this film a little faltering, but to me it felt as if the screenplay writer wanted to interfere as little as possible with the original true-life source material. Leaving the viewer to make up their own mind.

An entertaining film that I would watch again, if only to try and make up my mind about Fiodor. Watch it, think about it and then watch it again is my advice.

Rating 8.5-9/10