Le mie notti sono più belle dei vostri giorni

This movie has a sad entrance, a sad climax and a sad end, but between it is crazy, it is postmodern-french, it is fabulous and Sophie Marceau is growing bigger here. Sometimes remembered at P. Greenaway, I would see parallels to Damage/Fatale (1992): an interesting erotic drama with some sad moments and good actors especially actresses. Find out, who plays better, J. Binoche (Damage) or S. Marceau here !

After the phenomenon that was "La Boum", Sophie Marceau was faced with a dilemma; either continue making commercial features, or change her image by taking part in auteur films. She opted for the latter, rejecting Claude Pinoteau's -the director's who discovered her- "La septième cible" and playing the main roles in Maurice Pialat's "Police" and Andrzej Zulawski's "L'amour braque". It was with the latter that she also made "Mes nuits sont plus belles que vos jours", a film about madness , love and how they intertwine.

This film doesn't exactly have a plot. Its meaning is in the dialogues, conducted by a mentally ill woman and a physically ill man. Her, child of an abusive household, works as a medium and performs a spectacle between striptease and theatre, in which she predicts the future of any of the spectators that asks her. Him, a computer programmer, has invented a new programming language, but doesn't have much time to celebrate, because he suffers from a terminal disease. These two meet and discover that they can share their deepest fears, their hopes, but, most importantly, their ideas. They talk using intricate metaphors, and symbols, words that rhyme. Essentially, the French language is made use of to express the love between these two beings. This is a film as much about its ability to convey complex thoughts and concepts as much as it is about romance.

Romance isn't the only thing explored in "Mes nuits sont plus belles que vos jours"; Madness is too. For, both heroes feel love as something different than most people. They are insecure, unique, want to find someone as intricate as them. They don't say "I love you". Instead, they resort to metaphors, indirect means of expressing what they feel. Is it because they can't? Is it due to their past having made them to emotionally cold to feel? It could be both. The important thing is that they are so different from all others in terms of behaviour that they could only end up together, and its their madness that lets them live their romance with such passion.

Both Sophie Marceau and her co-star, Jacques Dutronc, showed this mindset perfectly. Dutronc was a yéyé singer, popular for his subversive, revolutionary lyrics. His charm and coolness was wanted among directors, with Steven Spielberg asking him to play the villain in Indiana Jones, and Dutronc refusing only because he didn't speak English. Was this a sing of arrogance, or of real knowledge of oneself? To me, something in between.

The aforementioned choice of Sophie Marceau to participate in "L'amour braque" instead of "La septième cible" is also indicative of a mix between arrogance and self-knowledge. It is known in the world of French show business, that when she told Claude Pinoteau that she was leaving the film, in order to take part in Zulawski's movie, he got irritated. He felt betrayed. The actress whom he had discovered, simply rejected his work, considering it too restricting for her image. And so, he let her go, but with a heavy price, both metaphorically and literally: she was forced to pay a big sum of money so as to cancel her contract. It was this lack of interest for others, combined with the will to improve one's position with the help of a kindred spirit, that characterised "Mes nuits sont plus belles que vos jours".

"Ordinary" is not a word I would use to describe this film. "Sweet" neither. "Mes nuits sont plus belles que vos jours" is a special kind of film, a director's vision of the love between two outcasts, of which the only possible conclusion is the lovers' death. That I didn't like it maybe serves more to show its uniqueness than its flaws. But, for me, this uniqueness just took away all of the romance, and the ambitious language only made their love seem artificial. As artificial as the weapons of a thriller.

The weapons of "La septième cible".

One thing is for sure when it comes to director Andrzej Zulawski; he divides opinion. My only taste of him prior to seeing this film was the fantastic Possession; which in my opinion is nothing short of a masterpiece. My Nights are More Beautiful than Your Days is an attempt at a romantic film; but naturally since it's also a Andrzej Zulawski film, it's anything but ordinary and is likely to polarise its viewers. Personally, I'm of the opinion that this film is not as great as Possession; but is still an interesting and beautiful film that deserves to be seen! The film focuses on Lucas; a man that has just invented a new computer language...but has unfortunately also been told that he's losing his memory due to a strange terminal illness that the doctors can't put their fingers on. While out with a friend, Lucas happens upon a young woman and the pair end up hitting it off after she throws a lighter at him. Shortly after, she leaves to put on her mind reading show; and love struck Lucas follows her.

This is a film that has much more style than substance; and the director plays up to this fact as much as possible and much of the film is extremely beautiful. The plot is certainly bizarre (though never as bizarre as Zulowski's earlier and more famous opus), although it mostly makes sense enough for the viewer to easily follow it. Jacques Dutronc takes the lead role and does well with it; convincing as the rather strange lead character. He stars opposite the beautiful Sophie Marceau; and the director makes good use of her by showing off her body on numerous occasions. It has to be said that the film doesn't really go anywhere; but in spite of that, getting there is an interesting ride. Several scenes (most notably a sequence from the leading lady's show) will stick in the mind long after the film has finished. The film does boil down to a suitable conclusion, although it doesn't really bring any closure to the characters. Overall, this film won't be for everyone; but if you appreciate style and beauty; there might be something for you here.

Apart from Sophie Marceau's frequent bouts of nudity, there's nothing remotely beautiful about this overly hysterical and pretentiously cryptic melodrama about exceedingly unlikable people! This was my third Andrzej Zulawski film after L' IMPORTANT C'EST D'AIMER (1974) and POSSESSION (1981) and it proved even more of a chore to sit through!

Surprisingly enough, Zulawski later had a child with his gorgeous leading lady here; one would have thought that his harrowing depictions of male-female relationships in most of his films (which frequently degenerate into shouting matches and violent beatings) would have put paid to any romantic ideas on her part! Anyway, when I was in Hollywood a couple of months ago, I had the chance to catch up with two of Zulawski's most intriguing films on DVD-R, namely THE DEVIL (1972) and THE SILVER GLOBE (1977-87; which was in Polish without English subtitles!) - but I decided to pass on them...!

Deeply affecting story of two damaged people instantly drawn to each other. So haunted by childhood traumas they block reality by speaking in lyrical word association always avoiding substantive conversation. By night she becomes unconscious, put in a hypnotic trance on stage to have psychic visions of audience members' secrets. Her coterie of family and other users stay coked up and engaged in constant orgy, fueled by her shows and fame. He is a computer and mathematical genius who spends his days in a pretend world of bizarre characters. Finally she sees his childhood in a sudden vision and all pretense falls away. Harsh reality drives them apart only to force them back together in a final act of love and devotion. Sophie Marceau was never more beautiful or naked. Her acting stands out and she carries the film. Extremely well made; leaves you thinking long after.