Lo scafandro e la farfalla

How much do we really communicate? Can you tell me what you're thinking? What you're feeling? Not an approximation, but exactly? To find a common language, a window of trust, and to communicate experience! To see inside the mind of an artist. Or for the artist, ours. If we find that common wavelength, can we dive in? Let the 'butterfly' take flight from its dark chrysalis? The interior world of another. The inscrutable depth of another person's individuality.

The first movie I saw by neo-expressionist painter Julian Schnabel was Before Night Falls. In that film, the artist was trapped in prison, quite literally. Which presented great communication difficulties for him (in giving life to his novel in the world). In this film, we have examples of people trapped or imprisoned in different ways. A man who had been taken hostage in Beirut. An ailing father who has difficulty climbing stairs to and from his apartment. Both are trying to reach out to the main protagonist. Bauby. An amazing and successful socialite who's in his very own 'prison.' Bauby has secured a publishing contract when tragedy hits. A stroke causes 'locked in' syndrome and he reviews his options as an author. The book he writes, and on which this film is based, is the one he is remembered for. I haven't read it. But his powers of expression, glimpsed in the film, make me want to buy it. The book he nearly wrote - a re-write of the Count of Monte Cristo - would probably be pulped. (But I wonder if that was poetic embellishment - Dumas was the first person to describe locked in syndrome in the person of Monsieur Noirtier de Villeforte, a Cristo character).

How many people know of Jean-Dominique Bauby, former editor of Elle fashion magazine? It doesn't matter. But what does matter is experiencing his ability to discern, his articulate vision of beauty. Not as science, but as an education of the senses (and this is a sensuous and evocative film).

Why is The Diving Bell and the Butterfly so successful? A French language film picking up four Oscar nominations is remarkable. (The American director insisted on authenticity and made it in France and in French.) I suspect the consummate vocabulary of metaphor it uses is partly responsible. It makes the challenge facing Bauby a global one and relevant to everyone's life. None of us communicates perfectly, after all. Words left unsaid, to friends, to lovers, because we didn't find the 'right' words.

The speech therapist who breaks through Bauby's barrier is excellent. Her motivation is, here is a man she respects and admires. It is also the biggest challenge of her career. Bauby's sense of humour, voiced as interior dialogue, is scathing. His lecherous thoughts about the therapist are tempered with good taste and his incorrect jokes about his own condition.

Bauby starts to write his novel and his sense of poetry bursts through. We feel a glimmer of a mental rush associated with artists, explorers and adventurers. The Diving Bell and the Butterfly is the adventure of life and death. Not in Hollywood terms with big explosions. But with sensitivities, with meanings. It has a 'reach out and touch' quality. A Laughing Buddha whose joke we've missed (but might catch on another occasion). It is the most awesomely beautiful film I have seen for a long while.

Schnabel's thing might be helping us taste something we might otherwise let go unnoticed. In Basquiat, he introduced many people to the artist Basquiat, but also to the revered and misunderstood Warhol. (And if you want to understand someone as weird as Warhol, understanding the contemporaneous – and only slightly weird - Basquiat is maybe a good place to start.) Here, his insight is transcendent. The film is a work of art. About a work of art. The use of visual metaphor and an excellent script lets us use Bauby's condition symbolically. Ingenious editing keeps us on the edge of our seat, especially towards the resolution, as we race to work out how a drive in the countryside will end.

The only scene I could find a flaw in was where he shaves his father. The sound of the rasping blade as he shaved his dad troubled me – if it was added afterwards I think it was overdone and distracting. But the scene was an emotional building block. And much of our story is told like this, through flashbacks. With his beautiful ex-wife. With his children. With his lover. And with his father. People with whom, like most of us, he still has one or two little unresolved issues. They made me wonder if we make too little effort to communicate when it seems easy to do so.

The film successfully mixes a down-to-earth style, great special effects to see through Bauby's one remaining eye, and jaw-dropping montage. As we observe mundane details of our hero's life falling apart or reaching fulfilment, the camera cuts to ice fields collapsing into the sea or winding back in reverse motion. Or there will be a sudden switch to sensuality as he guzzles wine and oysters in a swank restaurant, feeding and being fed by his lover. Janusz Kaminski, the cinematographer for countless Steven Spielberg's, excels, as does Oscar-winning screenwriter Ronald Harwood.

It should perhaps be noted that the film has not been immune to attempted high-jacks by groups with their own agendas. The Catholic News Service hailed its 'life-affirming qualities' compared to another great film it denigrates, The Sea Inside. Although locked-in state is a rare condition, few individuals experiencing it are likely to have the wealth and resources, public acclaim and reason to live that Bauby had. The situation of Ramon Sanpedro (The Sea Inside) might be a more common one.

Though not paralyzed from head to toe like French fashion magazine editor Jean-Dominique Bauby, many of us are in the "locked-in" syndrome – locked into our resentments and our fears, a rigidity that sours us on life and keep us estranged from family and friends. Julian Schnabel's masterful The Diving Bell and the Butterfly allows us to better appreciate the simple pleasures in life by dramatizing the debilitating trauma faced by the 43-year old editor who suffered a massive stroke that left him unable to speak or to move his head and whose only means of communication was to blink one eye – one blink for yes, two blinks for no.

Beautifully shot by cinematographer Janusz Kaminski with a screenplay by Ronald Harwood, the film begins with Bauby's confused awakening in the hospital after twenty days in a coma. We see only a blur of images and claustrophobic close-ups that mirror the patient's mental state. We can make out a hospital room and doctors and nurses offering reassuring thoughts. We hear Bauby's words but the doctors do not and we know that while his body isn't functioning, his mind is as sharp as ever. With the help of a speech therapist (Marie-Josée Croze), and a very patient transcriber, a code is developed that allows Bauby (Mathieu Amalric), called Jean-Do by his friends and family, to compose a book based on his experience.

When the therapist recites the most-frequently used letters in the French alphabet, Bauby blinks when he wants to choose a letter. The book, on which the film is based, was published in 1997, shortly after Bauby's death. One of the most dramatic moments in the film occurs near the beginning when the first thought Jean-Do communicates is that he wants to die. Feeling rejected and angry, the therapist stomps out of the room but apologizes and comes back shortly to resume the treatment. We do not actually see Jean-Do until about a third of the way through the film but we can hear his thoughts which are in turn angry, funny, and bitterly ironic. Bauby compares his body to a deep-sea diver being suffocated in a diving suit and his poetic imagination to a butterfly.

It is Jean-Do's sense of humor that keeps the film as light as it can be under the circumstances and his eloquence that keeps us riveted. When we finally do see him with his immobile body and his drooping lower lip, it is still a shock but we smile when he says that "I look like I came out of a vat of formaldehyde." Much of the film vividly explores the editor's imagination and the camera takes us on some wild rides that include images of Nijinsky, Empress Eugénie, Marlon Brando, and Jean-Do in his imagination skiing and surfing. Some of the most emotional moments occur when he greets his young children at the beach for the first time after his stroke, a telephone "conversation" with his 92-year old father (Max Von Sydow), and flashbacks to his youth - driving with his girlfriend, shaving his father, supervising a fashion shoot, and taking his son on a trip in a new sports car. Bauby's wife Céline (Emmanuelle Seigner), whom he left for exotic girlfriend Ines (Agathe de La Fontaine), visits him in the hospital and comforts him while Ines cannot bring herself to see him, saying that she wants to remember him the way he was.

Realizing how his life had been less than exemplary, his stroke becomes an opportunity for redemption and allows him, if not to cleanse his soul, to discover that humanity lies in his consciousness not in material things or sexuality. The Diving Bell and the Butterfly is a film of enormous power that shakes us and enables us to get in touch with the miracle of each moment. Schnabel says that his purpose in making the film was to tell "the story of all of us, who surely do face death and sickness. But if we look", he says, "we can find meaning and beauty here." There is enough of both meaning and beauty to make The Diving Bell and the Butterfly one of the best films of the year.

Saw this last night in Brussels (it's been on release for a while now). I was worried that it would be arty and depressing, but I was pleasantly surprised by how absorbing and moving it was. The opening scenes are striking, and communicate well the main character's feelings of claustrophobia and helplessness in the immediate aftermath of his accident, but as he attempts to rebuild his life and learn how to communicate, the film (and the visual style) opens up, even making room for some welcome flashes of humour. Performances are excellent, but the real stars here are the writer(s) and director, for taking us so convincingly into the character's world.

One of the best films in years, and in artistic cinematic terms, one of the best films I've ever seen. That's a heavy statement to make, but off the top of my head, I cannot think of another film that explores the inner workings of a character so intimately and believably, while blending cinematography, sound effects, and musical score in such harmony -- but in a fashion we (as American's at least) are not trained to enjoy. I felt the French influence strongly cinematically and, of course in the dialogue, but the writing and acting was so fluid it felt like the subtitles weren't even there.

The film deals with a rare physical condition, and I was physically there with the character from start to finish. I felt each moment as if it were my own. That is a rare accomplishment in cinema. Julian Schnabel directed a stellar cast. Mathieu Amalric was unusually charming as Jean-Dominique Bauby, and Max Von Sydow was heartbreaking as his lonely widower father. The female leads were all equally impressive as they were beautiful. I don not mean to generalize them, but they were all so excellent that they blend seamlessly in my mind, in terms of performance.

Overall, this film was as pure a cinematic experience as I've witnessed in a long time. A true artist turns out a film that is truly a piece of art. Julian Schnabel takes his time in between films, but with work like this, there's no need to rush. Like a good painting, one can enjoy it for a lifetime.

The best film so far - that I've seen - in 2008. A totally artistic endeavour that succeeds on every level. Expecting a somewhat depressing movie, I found it to be the exact opposite. Uplifting, joyful, and inspirational while showing a man (played by Mathieu Amalric) completely paralyzed, apart from the ability to blink his left eye.

There is a seamless blend of cinematography with the music to enhance the inner life of the main character, the viewer is at one with his inner frustration, his soaring imagination, his follies, faults and lusts. At times it is humorous, at others there are indelible vignettes - one of the long term partner (beautfully played by EmmanuelleSeigner) assisting his lover to communicate with him by telephone. Another is the incredible Max Von Sydow in a riveting performance as the elderly heart-broken father.

The film is based on a true story and it must have been an enormous challenge to bring this story to the screen. Julian Schnabel directed the amazing cast and brought an artistry to the project that is extremely rare in film making. To capture the world as seen through the eye of a paralyzed man and make it so fascinating took enormous skill.

I was captivated and enchanted and would definitely see it again. 9 out of 10. Not to be missed.