Ritratto nella memoria

I had seen previews for this film for several years before I could find it in the local Blockbuster and waiting was worth it. The story is tender, without being overdone. All of the characters are connected in meaningful ways, although I have to say casting Sam Waterson as an art auctioner may appear to be an odd role for him, he handled it well.Jeanne Moreau was delightful in the lead. The triumph of the film is her ability to move in and out of the visions with her mother and her lover. While some viewers may have found this far-fetched, just remember that grief creates many levels of reality. The friendship that developed with Josh Hamilton's character (William O'Hara) is great. Despite the fact Moreau finds him a total bore when they first meet, and they then become friends becomes the universal message of this story. Throw in the reconcilation of a marriage gone bad, and the young couple overcoming their cultural differences, and the story comes full circle. The scenes of racial problems in Frances brought the issue to light. Few Americans see this side of France. I give the movie an eight.

Virtually unwatchable. Normally Merchant produces and Ivory directs. When they switch rôles, bad things happen.

This is a beautiful film. Jeanne Moreau, charismatic as ever with her evocative face with its distinctive sensual pout and luminous eyes, dominates the film - as intended - as a rich and famous writer, Adrienne Mark, living in New York with nightmares about her young life during the Second World War. The memories that flood back make her want to buy her mother's apartment in Paris, which has come up for auction. Her story unfolds with neatly nuanced flashbacks seamlessly interlaced with the main movement of the film, but there are several sub-plots adding to the film's complexity and interest. A young American photographer, introduces himself to Adrienne in a New York art gallery and their acquaintance develops into a charming theme whereby he gradually wins her affection. The relationship between Adrienne and her maid/companion of long years standing is delicately portrayed with excellent rapport between Moreau and actress Nell Carter. Adrienne's ex-husband (Christopher Cazenove), still in love with her plays his role in her life with careful consideration. Another, significant, sub-plot is the romance between American film director Virginia Kelly (Sean Young) and Patrice (Marc Tissot), son of the director of the original film version of Adrienne's book, a portrayal which pays tribute to French-style movies as Patrice sings to Kelly as they paddle in the fountains at a chateau (Catherine Deneuve films came to mind).

Moreau steals every scene she is in - of course! I'm sure Ismail Merchant and James Ivory fully intended her to. You can't take her eyes off her. Her costumes are beautiful, her hair stylish, her gestures so individual. But Merchant Ivory are always careful not to over-dominate their stories with a single track. The weaving of all the other players' characters and their own stories into Adrienne's is considered and never overdone.

I loved this film and it was simply glorious to watch one of the 20th century's greatest film actresses in a lovely role which suited her down to the ground. Encore champagne!

If you see this film as a tv movie chances are the broadcaster's watermark will wipe out the subtitles, another reason to buy the video. When I saw this film for the first time I thought it was another American made girl flick so I occupied myself with other things(heh heh). The closing credits intrigued me however(Sean Young, Nell Carter, Aumont, Moreau) so I rented the video. I suppose I rated this a ten because I find most European films worthy of artistic praise, which is what this is, although it is obviously trying to serve an American audience. The French, in particular, have a way with invention that sidesteps stereotyping. Older people don't appear as saints or fools. Americans don't appear as total idiots. Youth isn't always blunt and naive. And life isn't telegraphed. So an otherwise boring girl flick turns into something worth watching.

The mature and beautiful Jeanne Moreau makes this film worth more than a footnote or a curiosity in her filmography. The interplay between Moreau and Nell Carter is funny and moving. While there are transitions that are not as smooth or well written as they could be, this movie resonates with those of us who have reached "a certain age."

Though not all of us have the opportunity to revisit our pasts, we each manufacture the imagery that we carry with us for our lifetimes. Those of us who are lucky enough to get a chance to revisit our youth are often rudely awakened to the reality that the imagery we have carried with us is not necessarily reality.

This touching story involves a successful novelist, Moreau, who late in life decides to return to her Parisian roots. It is about her departure from New York, where she has been living since the war (WWII) and her return to Paris after 50 years. It is in the remembrance of her mother and the realizations of what actually happened to her as a child during the war that are the heart of this movie.

While there are unnecessary sub-plots, even these diversions give the director, Ismael Merchant, an opportunity to cinematically present Paris at its most lovely.

I consider this a very good movie with yet another brilliant and controlled performance by the incomparable Moreau. There are some very interesting character roles including Jean Pierre Aumont. The cinematography is lovely!