La ragazza sul ponte

An artfully shot, black and white contemporary French film, "Girl on the Bridge" is a peculiar sort of romantic drama about a man and a woman bound together by an alloy of danger, fatalism, luck, libidos, and sharp steel. On one level the film is preposterous; on another, implausible; and yet on another a compelling, fantastic drama. A good watch for the jaded.

Girl on the Bridge is an absorbing piece of film fiction and, to my mind, an instant classic. From the choice of its stars to the use of a gritty, many shaded black to white spectrum, it is a spellbinding expression of director, Patrice Leconte's, mastery of the art of filmmaking. Every throw of the knife notches up the suspense to an ecstasy of fear on behalf of the characters you come to love. This is an unusual romance that leaves the viewer enlightened and lighthearted without any sacrifice of reality.

The Girl is portrayed by Vanessa Paradis, who, in her person and in her manner, invokes memories of both Brigitte Bardot and Audrey Hepburn, a radiant, sensuous mix that is haunting and captivating. There's rapturous innocence despite her frequent and intense sexual encounters, and some part of her remains pristine throughout the most seemingly perverse scenes. Seduction for her must be emotional and intellectual, not merely sexual, because her body is routinely given, and through her experiences, we realize its satisfactions do not ultimately satisfy.

Although some scenes recall other great pictures of yesteryear, such as The Seventh Veil, Girl makes new, inspired use of beloved film moments to make its own statement: the human spirit deepens and expands to the extent to which it trusts in, and is dedicated to, love. To love is to risk, and in this film of heart thumping suspense, we come face to face with the dangers love entails. Love, like this film, is not for the faint of heart. I, for one, am looking forward to my second time. Many compliments to Patrice Leconte and his wonderful collaborators!

For years I was asking myself: the beauty of the early French films, the poetic realism, the simplicity and magic of the early Italian neorealists - where have they gone? I was missing that moment of pure cinema magic, the feel of people, the love for life in the movies. The unforgettable pictures of our childhood created by people like Carne and Vigo, Rene Clair, de Sica and Fellini. Now they are back. Patrick Leconte has created a very original, highly enjoyable little masterpiece that has it all in a modern movie. This beautiful black and white love story is a great moment of contemporary cinema that leaves you with that deeply happy feeling, that cinema sometimes seem to have forgotten about. As a producer and director myself, I was searching for a long time for any modern piece of film that picks up on that wonderful poetic movie tradition that combines reality with a flowing, surreal dream-like storytelling that your heart directly understands. Leconte's gentle and lighthearted, yet perfect command of visual language and editing makes this simple little story about a knife-thrower and cabaret artist and his "victim" and partner, a suicidal young woman, one of my happiest cinema experiences in the last 20 years. That people do this kind of movies these days, gives you hope. We need more movies like this. This is a film that nobody should miss that loves poetry, love, life and circus as major elements of cinema and human existence. Congratulations to Patrice Leconte and his inspired DP Jean Marie Dreujou.

The best moments of the quirky love story, "Girl on the Bridge", come in the beginning sequence when the introspective Adele (played by the beautiful Vanessa Paradis) is questioned about her clinical depression by an unseen voice in a room full of unseen therapists. Adele explains both her natural attraction and her bad luck with successive men who mistreat her in one way or another. Then comes Gabor (Daniel Auteuil) who tries to 'rescue' her from the bridge she is about to jump off. Their relationship starts out like a Pymalion story with the more intelligent Professor Higgins and the unrefined Eliza but then turns into a road show, like "La Strada", with the experienced showman Zampano and poor waif Gelsomina but finally ends up looking like "Two for the Road" with two sick puppies who can't do without each other. You come away from "Girl on the Bridge" thinking about love in the abstract rather than love you can feel. Do we really care that in the end, the knife thrower and the target have changed places? Can we really understand the pathetic lives of a younger woman and an older man who instinctively know what the other is doing and whose sexual gratification comes from experiencing the fear of dying? Given the high drama of their lives, you would think "Girl on the Bridge" could come to some conclusion about two desperate characters trying to find some meaning in life. Instead we meet them back on a bridge where they started out in the beginning, with an oddly chosen Brenda Lee tune thrown in to accentuate the strangeness of a strange film.

Film of extreme sensuality, carried by 2 excellent actors. Vanessa Paradis radiates and subdues: her voice, her beauty, and even her slightly stupid side (in this movie, of course). Daniel Auteuil captivates his entourage, among other things with an artificially dark look. We feel them connected. Together, they complement each other. Separated, they accumulate failures. And the film becomes magical, as in a fairy tale.