La piscina

Ignore the Naysayers, "La Pacine" is a masterful film. A true example of the kind of film they only really made in that area: vibrant and glossy, where a voyeuristic camera just hovers and lingers, putting the viewer right there. It reminded me a lot of Jean-Luc Godard's "Contempt." The way it is filmed makes the viewer want to be in that world, and stay there as long as possible. I know that South France in 1960's seems a hell of lot better than our world today. If "La Pacine" was 3 hours long, I would still sit through it, just to BE there.

I found the acting performances to be extraordinary. So much in this film is conveyed through body language and facial expressions, that one hardly even needs to know French (or read subtitles) to understand what it happening. Romy Schneider and Jane Birkin are both great to look at, and I thought Jane Birkin in particular really did well to say a lot with few words.

The only thing that slightly drags "La Pacine" down is that it's slightly overlong in the drawn out expository section after the climax, which causes the film to loose a bit of punch by the end. So come hang out by the pool for a while, I don't think you'll regret it.

And what eye candy - Alain Delon.

"La Piscine" is about two impossibly beautiful people in various stages of undress having a lot of foreplay. Or so it seems. Jean- Paul (Delon) and his lover (or wife, not sure) Marianne (Romy Schneider) are vacationing in a friend's mansion in Saint-Tropez. Lots of sun, making out, and swimming.

Marianne's ex-beau, Harry (Maurice Ronet) calls to say he's in the area, and Marianne invites him and his nubile daughter Penelope (Jane Birkin) to stay with him.

It's obvious that Harry still desires Marianne, so there is automatic tension. Then Jean-Paul seduces Penelope. Soon tension leads to something worse.

"La Piscine" is a typical foreign film - the ideas are sometimes obtuse, and it moves slowly. It's also too long by as much as a half hour. It's hard to concentrate on the plot because the beauty of the stars, Delon and Schneider, and their incredible chemistry overwhelm the story - to the extent that one doesn't really understand Jean- Paul's attraction to Penelope.

What erupts is the suppressed anger of the once-suicidal Jean-Paul, the competitiveness between him and Harry, and Harry's jealous possession of his daughter, whom he only recently met. As Penelope says, he likes to have her travel with him because people often think she's his mistress.

Schneider and Delon were a famous real-life couple but had broken up about five years earlier. Their chemistry is undeniable, and it's heartbreaking to think about what happened to her. Both actors give very "movie" performances - nothing overplayed, many subtle, nonverbal reactions. All of the acting is good, and the conflict scene between Harry and Jean-Paul is excellent.

"La Piscine" is considered a classic, but I believe many Americans had a hard time with it due to its languid pace and a tendency to look for action rather than psychology. Enjoy it for the beautiful photography and beautiful actors, if nothing else.

I saw it few times with the nostalgia of the great first scenes. A film about love, hate, jealousy, games and death . Admirable work of Romy Schneider and Alain Delon and great craft of the nuances of story. And, sure, a young Jane Birkin , seductive and well acting.

Maybe, the remarkable good point remains the dialogue and the ambiguous games of characters. Sure, a classic , with its obvious virtuous but, more important, with few sins who, after a half of century are very near to the status of virtues.

A good cast and a fairs slice of thriller. And the summer proper reflected in the water of pool.

The most simple is to say : see it ! Not for story but for emotions inspired by a fist of scenes.

It annoys me to read that a film has not aged well. A film is made in its day, the very next day some event may contradict its content. Suffice it to look at how very few in the younger generation accept that there was a pre-Internet and pre-mobile phone time, and how that has impacted on the cinema at large and their notion of the "olden days."

What LA PISCINE presents is a foursome: Jean-Paul (Delon) currently seeing Marianne (Schneider); a visiting pal, Harry (Ronet), who had dated Schneider until as recently as four years ago; and the latter's daughter, Penelope, played by the lovely Jane Birkin, here around the time that she sang the famous "Je t'aime... moi non plus" lovemaking duet with Serge Gainsbourg.

In real life, Delon and Schneider had been married until Delon knocked up Nathalie, splitting with the latter in 1967, and by mid-1968, when LA PISCINE was shot, they seemed ready to resume their relation. Alas, that did not work, and in the film you can see that even though they end up physically together, there is far too much baggage for those ties to hold.

After a frantically sexy start to the movie, we see Harry's arrival and it is immediately clear that Delon is not comfortable with Marianne's former lover around.

To thicken the tension, Harry has a very low opinion of Jean-Paul, who can feel it, and later receives confirmation of that perception from Penelope, who is less than impressed with her father's behavior, bringing in friends without warning, trying to rekindle his relation with Marianne in Delon's presence.

Delon looks fit, runs around like a cat on heat after the female that he beds with and possibly after Harry's 18 year old daughter (we never get to know whether J-P banged Pen, but both Marianne and Harry suspect it).

The animal in Delon is further aroused when Harry returns drunk from a night in the village, and in vino veritas, proceeds to tell Delon what he thinks of him, how useless he is as a writer and as just about everything else in life.

Delon, already annoyed over Harry's advances on the loyal Marianne, does not take well to criticism and snaps, willfully drowning Harry in the swimming pool, in a sequence that left me rather anxious and even scared, as Harry kept pleading for his life.

J-P, (played phenomally and efficiently by a Delon of menacing silences and stone-cold eyes), may be a cheap writer but he can take control of a situation slipping from him. He manages to elude the suspicious police inspector (competently played by Crauchet, who keeps returning with another question, as Falk's Columbo would do a decade later) and to get Marianne to stay with him... at least until film's end. As indicated earlier, there is far too much baggage weighing down their relation, and in fact both parties had previously stated their readiness to part company, until Delon senses the wisdom of keeping Romy sweet, given that the gumshoe might come back any time and turn up more evidence.

I am not particularly fond of Director Jacques Deray, who the following year would bungle BORSALINO, the only film ever to bring together Delon and Belmondo, but in LA PISCINE he makes good use of a psychologically perceptive script by Jean-Claude Carrière, extracts highly convincing performances from all in the small ensemble, even the maid, and the simple, unobtrusive exterior and interior cinematography by Jean-Jacques Tarbes works very effectively throughout.

LA PISCINE's sharp dialogue held my attention from beginning to end. You can expect sensuality, not physical action like fisticuffs... instead it comes in a burst of silent, dark, premeditated violence.

Recommended viewing. 8/10.

This fine French crime drama, is not appreciated as it should be. The cast may be the reason, but there is no one, that comes to mind of contemporary French actors, at the time, that could have added something more to this. The centerpiece of this tale, of moral and emotional decadence is the swimming pool by beautiful villa, somewhere near Saint-Tropez and it radiates summer passion, it's turquoise waters filled with guilty conscience, calling for trouble between three old friends and lovers. Burden each of them carries, would lead to crime even without "sweet Jane" stirring it up to boiling point. Her presence is so light and she almost appears as a mirage, in between scenes of old passions, lust and grudges not forgotten.

The film is everything but slow paced and boring. There is no surplus scene, and I can't imagine how it could be done differently. Of course such films in general are not for audiences of ready-made movies, but for those who will savor Jacques Deray's fine direction, and beautiful cinematography of Jean-Jacques Tarbès. They did a fine job in submerging a willing viewer into exquisite beauty of Romy Schneider, Alen Delon's cool in portrayal of insecure, troubled man that finds his life utterly pointless, Maurice Ronet's subtle acting performance of a successful composer who is afraid of his success, and Jane Birkin's girlish naiveté, ruffle the pool of love and hate. Interraction between Schneider, Delon and Ronet adds another level to it, and the story glides well with every scene serving the story of superficial, emotionless people trapped in their small worlds, in witch they are suffocating. Beautiful film, worth every minute of your time, and not just in cold winter months.