Gocce d'acqua su pietre roventi

François Ozon has flair and style ('Swimming Pool', 'Under the Sand', '8 Women', etc) and in scripting Rainer Fassbinder's 1970s play 'Gouttes d'eau sur pierres brûlantes' for the screen he has created an edgy, fun, and poignant examination of the lives of four people at their intersection.

Act I (for that is the way the film is laid out in homage to Fassbinder's play): 50-year-old Léopold (Bernard Giraudeau) is entertaining 19-year-old Franz (Malik Zidi), who he has picked up in a bar, with sharp repartees about his past loves and is sparred by Franz relating his current affair with the young and beautiful Anna (Ludivine Sagnier). The conversation gradually gets around to seduction and both Léopold and Franz happily reenact each other's physical fantasies. Act II: some months later and Franz has moved in with Léopold becoming the devoted housewife in lederhosen to Léopold's increasingly cranky self. They argue, threaten, but eventually succumb to the safety of the boudoir to settle differences. Act III: Léopold's ex lover Vera (Anna Levine) arrives at the door to find Léopold in a new life and departs brokenhearted. Anna likewise arrives during one of Léopold's absences and for two days Franz and Anna try to recapture their previous affair. Upon Léopold's return, Anna finds Léopold appealing and behaves seductively. Vera arrives, reports that she is a transsexual now in a female form, and Léopold is delighted with the idea of a ménage a quarte. But it is Franz who has found his true life and love and how he deals with the proposed turn of events forms the rather surprising end to this film.

Each of the four actors is excellent and Ozon paces them well. There are some really fine moments, as when Franz reclines in his bath quoting Heine's poem 'Lorelei' revealing how far more penetrating the changes in his vision of his life really have become, when Ozon improves on Fassbinder. Not a great movie but a bit of the different that spices movie viewing. Grady Harp

The film version of Fassbinder's play retains the theatrical structure with 4 acts, 4 actors and 4 great performances. The dialogue wins you over at once and keeps you in rapt attention hanging on every word. Leopold a persuasive self-indulgent bi-sexual restructures the lives of 3 people as he introduces them to new sexual adventures. First there's Franz a good-looking 20 year old who is contemplating marriage with his girlfriend Anna. He becomes confused about love when he has a homosexual dream which Leopold is only too happy to recreate once he has enticed the somewhat inexperienced Franz into his bed. Then there's Anna who is agreeably surprised at the change in Franz's sexual attitude. She too is overwhelmed by Leopold's advances towards her. Thirdly there's Vera - now a woman, once a man - Leopold's ex-lover perhaps more confused and disappointed than any of them. It's an entertaining romp as we watch the hand of experience "create" new lives for each of them. Leopold always in search of novelty knows what each victim is yearning for and he is only too ready to meet their desires....at least until the novelty wears off. I felt the first three acts were absolutely flawless. Act 4 with its black humour was less appealing I thought. The telephone call to his mother was quite unforgettable....."I think I'll go to Heaven because I'm young!"....and spoken with such dead pan sincerity. And the follow-up call to mother was a real gem. Yes...it's the dialogue that fascinates and holds the play together... the casting too is exceptional....and as for the old game of Ludo.... it will be so much more meaningful to me in the future!

Based on the Fassbinder play, Water Drops on Burning Rocks is an acutely observed exploration of relationships, successfully mixing burlesque absurdity with grim truths to create an enjoyable and insightful film.

The film's characters revolve around the life and whims of Leopald (Bernard Giraudeau), an ageing swinger whose laissez-faire suavity seduces the callow Franz (Malik Zidi). By the beginning of Act II, the latter's boyish confidence has been replaced with the willingness to selflessly submit himself to the whims of his irritable older lover. With the arrival of Anna (Ludivine Sagnier), Franz's subservient fiance, and Vera (Anna Levine), Leopald's former partner, the latter's apartment becomes the home to both farce and tragedy, as desires, attachments and caprices play themselves out in a confinement from which there is no escape. Ozon's consummate direction and the 1970's setting give the film and ostensible gloss which makes its underlying darkness even more striking. This is no less aided by the effortless confidence exuded by Giraudeau and the desperate neediness that is excellently portrayed by his three lovers. What makes Water Drops on Burning Rocks a memorable work is the power of its insights and the originality of their portrayal; it is a film whose exterior is humorous and playful but whose interior contains a bleak vision, in which relationships mean little more than a repetitive vacuum of need, where libidos and routine hold more weight than deep affection or care.

A finely crafted examination of the traits that can be most destructive and tawdry in relationships, Water Drops on Burning Rocks is saved from being dogmatic or overwhelming by the subtlety and wit employed by Ozon and his cast. It is an example of understated film-making that conveys real insight on a subject that has been much maligned in other films, such as the appalling Romance. Highly recommended to those who wish to a covertly intelligent, beguiling work.

I've never been a big Fassbinder fan but with the coming retrospective I thought it was time to check him out again. So I chose this movie, since it was a Fassbinder script directed by a Frenchman (Ozon) that I admire. It was a delight. Somehow the problems I always had enjoying Fassbinder (the intense cruelty between his characters, the disorienting emotional mood swings, the bleak, dreary German atmosphere) were completely offset by the sense of play and love of color and music that Ozon brings to this script. As in 8 Women, his sense of style and beauty rival Almodovar's and even the grim reality of Fassbinder has a beautiful, chic French gloss. He understands that love and sex in Fassbinder are closely matched with jealousy and destruction. It all clicked for me. And the omnisexuality is so fresh - so unspoiled... That said, it's a devastating critique of what lovers can do to each other. But it's,...well...so pretty...

I really, really enjoyed it.

This is absolutely vintage Francois Ozon fare. He really does take French farce to a whole new level of humiliation and pain for its victims. I can't help feeling though, that the audience is being asked to laugh at rather than sympathise with their dilemmas. (Just see the scene where the young boy dresses for his hot date in some kind of lederhosen. Don't tell me you weren't giggling). Underneath the kitsch seventies style and the black humour, however, this film has a serious topic: the very nature of desire. These are characters who will do anything in order to fulfill their desires, regardless of the destruction they cause to themselves, or in the case of Leopold, others. But what else is their for them in the suburbs of a non descript German town? capitalism may let you have sex without whoever you want, but it doesn't seem to give you the tools to know whether you really want to be having sex with that person in the first place. An intelligent, witty and thought provoking film.