Solstizio d'estate

A visually-stunning look at the lives of three modern-day Vietnamese sisters and their families, living in Hanoi. The intersection of modernism (in particular, Western) influences alongside tradition is a theme. This does not appear to be a rigid Stalinist society but an austere but comfortable developing one. A sound track which mixes Lou Reed and traditional Vietnamese music accentuates the way tradition and modernity meld in this setting.

And it is the setting which takes your breath away. Even the interiors are visually rich with colors and textures. The film's use of rain, heat, and flowing water all add to the sensuality of the country and the characters.

As a Vietnamese, I have to begin by thanking Tran Anh Hung for all that he has done for Vietnamese cinema. He has beautifully brought to the world an image of Vietnam other than that of some evil Communists in American war movies.

Now onto my review of this film.

It is a beautifully shot movie. The fresh, cool colors through the movie really do transport the viewer to somewhere similar to a tropical paradise. The story is slow but the writing is smart. Things are happening even though you feel like nothing has happened. The film is about 3 sisters and their adventures in love. The two older are married and are facing infidelity in their relationships. The youngest is still dating other men, although her close relationship with her brother only suggests some disturbing truth.

The acting is the movie is restrained but mostly good. My only problem is with Tran Nu Yen Khe as the youngest sister. I know that she is the director's wife, thus she appears in all his movie. But is this necessary, Tran Anh Hung? She is certainly a beautiful actress, but her Vietnamese is horrible. While everyone in the movie is speaking flawless, authentic Vietnamese, she struggles as if reading with a monotone in an accent that clearly indicates that she never learns Vietnamese in Vietnam. This has completely thrown me off during the movie. Whenever she speaks, I am reminded that this is a movie and not real. In Mui Du Du Xanh, the first film of Tran Anh Hung, I don't have a real problem because she speaks a total of maybe 3 lines and those are from reading a book so it doesn't bother me. But in Cyclo, while the actors and actress who play her family speak with a specific accent from a province in Vietnam (Quang Nam), she again speaks in a monotone with an accent of a foreigner. And it happens again here in this film. This problem is equivalent to an actor who plays an authentic Texan and speaks with a European accent. It just doesn't make sense. Of course, to people who don't speak Vietnamese, this is not a problem. But to a Vietnamese like myself, I can think of many other actresses who are much better for the job.

But don't let my ranting about Tran Nu Yen Khe discourage you from seeing this movie. It will be one of the most beautiful film you have ever seen and I think you will like it.

Unlike some of the other comments seen here, I thought this movie was a real gem. The Director of Photography gets kudos on this one, as every scene was like viewing fine art. Yes, certainly, there were times when the writer/director was asking the audience to put more meaning into a scene than was warranted, but overall the plot was enjoyable and based on true human emotions. The movie also invoked a certain mood of longing, that was aided by weather variations (especially rain) and the overall set design. I'd recommend this movie to anyone with a discernible eye and an appreciation for the attempt/accomplishment at making grand strokes on film. It is eye-candy all the way, and the bevy of beautiful people certainly doesn't detract from that.

This movie was one long, slow, blissful dream. I can hardly explain how much I have been moved by this movie. It exists beyond what is projected on screen, appeals to some of one's innermost sensations, feelings almost forgotten, like the simple pleasure of waking up in the morning, opening one's window, and breathing, deeply. Since I live in Paris, I was lucky enough to meet Yen (the interpret of Lien) and Hung (the director) and talk to them personally. And I understood where the movie's deeply heartfelt nature came from : simply, it was the expression of the greatest sincerity and sensitivity of all. Hung and Yen are both just like this movie, just like the Scent of Green Papaya too : fascinated with simplicity, and constantly looking for beauty in its simplest form, in the most obvious gestures of everyday life. Waking up had always been a routine for me. After seeing this movie, it has become a pleasure renewed every morning. Never before had I understood the worth of movements executed slowly, fluently, harmoniously, almost like a ceremony. A la Verticale de l'Eté is not an obvious movie, where everything is suddenly thrown at the spectator who needs do nothing but open his mouth and swallow whatever is shoved down his throat. This demanding film asks a total commitment, asks you to completely forget everything else than the movie. But if you let yourself sink into the movie, if you make that initial effort, this film will reward you with much more than mere images and temporary distraction. I truly believe that this movie will forever stay in the hearts of those who have seen it. I have seen it four times so far, and can't get fed up with it. There is one problem about this movie though : it makes it particularly hard to get back into the "real" world... That is probably why I keep going, again and again, to see this movie. I think I like to believe that life can be a dream sometimes.

Just finished watching it, late on a Saturday night. Beautiful. Saw SCENT OF GREEN PAPAYA but prefer this. Incredibly sensual, tactile, delicate shades of light, spilling over faded walls, around lush greenery, onto rough stone. Such fantastic visuals, could easily leave it playing in perpetual loop with the sound turned down, especially on the 42" LCD I don't have.

Plot? Was surprised at the level of detail, how well scenes knit together, symbols woven through a tapestry I didn't expect. One of the main reasons I prefer it to SOGP. Unexpected tensions arise, complexity swimming below surface tranquility, never quite sure where the plot is going to lead.

There isn't much in the way of conventional resolution, but that didn't matter to me. Some think the pace too slow, but heard similar complaints about IN THE MOOD FOR LOVE which I found unfounded. Doesn't have to be neat and tidy, and often there is more importance in what is not said, than what is spoken. A different mentality from many 'western' films, and certainly not the French 'nothing about nothing' that one reviewer mentioned. All in the details. And the glorious laziness of summer! I want to be there NOW.