La femme du Vème

Watch this with a group and have a great discussion on questions like: What happened in that movie? What was that about? How much of the content was symbolic and how much of it was actually concrete?

Or watch it alone and become miserably confused.

If you have read the book, then by watching the film, you will be very disappointed because there is one great change in the plot location that will affect and ruin the whole tone of the story:

Yes; both versions are set in Paris: hence the title 'The Woman in the Fifth.'

In the book, the estranged wife and daughter have been left behind in America as 'Tom' flees to Paris alone to avoid a scandal of his own making. This is not so in the film.....Tom arrives in Paris to re-unite his family from estrangement . Furthermore, there are also a great number of plot details missing from a fascinating story from the author Douglas Kennedy... it is like a big gap of a hole that the film can only seem to portray and make sense of.... by compressing the whole story into an 80 minute narrative with occult like interpretations with director's own fancy?

Furthermore, the lengthy plot of the book is vital to hold the story together. I am also not keen on Ethan Hawke who plays Tom ( whose name is 'Harry' in the original story. ) Ethan Hawke, as an actor, looks too introspective and miserable for the character to be liked. I do however, like Kristin Scott Thomas - she is irresistible, and perfectly cast as the mysterious Margit of which the the mystery is based upon.

Having compared the film to the book though, there is great merit to savour - with great artistry of film -making -it is art-house filming -and remarkable in quality. Overall, the film appears dreamy, but drab, and ends abruptly without the full story being told, leaving one feeling sad, confused, and a bit short changed...and it does not help that the filming of the 'imaginary of the woodland' can offer a clue to the 'owl like' magic to solve the mystery?

Again, while the film has merit on its own strength- it would have been a real plot spoiler to have see the film prior to reading the book -to have known the mystery of Margit, to whom: The Woman of the Fifth is so named. I am glad I did not attend the Curzon cinema in Mayfair, London to do just this, as the book is great to read: Of course, I feel sad and confused -having now watched the film....but I wish that the film director, Pawel Pawlikowski could explain his interpretation?

The American professor of literature and novelist Tom Hicks (Ethan Hawke) travels to Paris to see his beloved daughter Chloé (Julie Papillon) that lives with her mother Nathalie (Delphine Chuillot). However, Nathalie uses the restraining order to call the police and avoid letting Tom to meet Chloé.

Tom flees from the police and takes a bus but he is tired and sleeps. When he awakes in a poor neighborhood, he finds that his luggage and money were robbed. He goes to a bar and the Polish waitress Ania (Joanna Kulig) brings a coffee for him. He asks for a room and explains that he had been robbed and she asks him to talk with the owner Sezer (Samir Guesmi) that allows him to stay in a very low budget room and pay him later. Then Sezer offers a job of night watchman in a suspect building.

One day, Tom goes to a bookstore and is invited to a party with writers where he meets Margit Kadar (Kristin Scott Thomas), who is a translator and widow of a Hungarian writer. She gives her address and telephone to Tom. Soon Tom has a love affair with Margit at her apartment and with Ania on the roof of the bar. But Tom is also obsessed by his daughter, snooping around Chloé during the days. When his next door neighbor at the hotel that is blackmailing Tom is found dead, his only alibi is Margit. But when the police officers go to her place, they discover that she had committed suicide many years ago.

"La femme du Vème" is one of those movies like "Triangle" where there is no explanation for bizarre and surrealistic situations. I am not sure whether the director Pawel Pawlikowski had this intention or not, but forget any explanation about the plot and simply enjoy (or not) the movie.

David Lynch is the master of this style while Claude Chabrol was the French master of thrillers with open endings to make the viewer think and discuss possibilities. But this is the practically unknown Pawel Pawlikowski and I was disappointed with the lack of conclusion of the good plot. But as an unconditional fan of Kristin Scott Thomas and Ethan Hawke, I do not regret this strange experience. My vote is five.

Title (Brazil): "Estranha Obsessão" ("Weird Obsession")

Despite the promise of a collaboration between Pawel Pawlikowski, Ethan Hawke, Joanna Kulig, and Kristin Scott Thomas set in Paris, this film fizzles into a frustrating, rather dreary mess. In a nutshell, an American writer (Hawke) shows up at his ex-wife's apartment, hoping to see their daughter. She calls the police on him and he flees, and after being robbed on a train, he ends up in a seedy hotel. He takes a shady job to pay for his room, and gets involved with a couple of women, one of whom was the muse for a Hungarian author (Scott Thomas), and another who works at the hotel (Kulig). Things go south when a man trying to blackmail him turns up dead, and the muse (who is also his alibi for the evening in question) turns out to be imaginary.

The meaning to the film is probably along the lines of an artist struggling with his own sanity, and having to make difficult choices between creative output and family, all while living in impoverished conditions. He tries to write beautiful, touching work but he's doing so in the dingiest of places, the struggle of which has been felt by a large number of artists since time began. While Kulig and Scott Thomas felt rather wasted in their parts, Hawke shows his range here and has several fine moments, which were the highlights of the film.

Where it falls down is in the narrative, which is too vague and open-ended. I disliked the muse reveal, and thought the murder was an odd bit of drama, things that sent the story over the rails for me. I wondered about what had led to the restraining order which was alluded to early on, and wished that the film had focused more on the dynamic with his ex-wife and child, as opposed to the other women in Paris. How much of this is in the imagination of the author is subject to interpretation and that's kind of interesting, but ultimately it just doesn't come together.

If you enjoy a movie with loads of atmosphere that leads you deeper and deeper into a complex mystery, and then refuses to give easy answers, then you will love "The Woman in the Fifth" - I know I do.

An American writer, Tom Ricks (Ethan Hawke), arrives in Paris to try to meet with his daughter. His ex-wife immediately calls the police and we realise that there has been some ugly history between them.

Broke, Tom is given a room in a seedy hostel in exchange for taking a job as a nightwatchman in the basement of a strange building. At a literary gathering he meets Margit Kadar (Kristen Scott Thomas). Margit lives in the fifth arrondissement - the woman in the fifth - and they have an affair. His life starts to take unexpected turns. At the hotel, he also has an affair with a young Polish waitress, and a confrontation with the aggressive man in the next room. All the while, trying various ways to see his daughter.

By the end of the film there has been a murder, a kidnapping, and revelations about Margit Kadar that reveal that all is not right with Tom Ricks. Not much is explained at the end - the last scene leaves us wondering.

Movies that blur the line between what is real and what is being imagined have been around for a while now. Back in the days of Film Noir it usually turned out that it was all just a dream - a not too satisfying resolution that quickly became trite. However, over the last couple of decades, movies that blur the line have become much trickier.

The process in more recent times may have started with movies that are not exactly ghost stories, but feature people who don't know they are dead. A forerunner was "Carnival of Souls" in 1962, but Haley Joel Osment in "The Sixth Sense" wasn't the only one to see dead people, they popped up in "Jacob's Ladder", "The Others", "Passengers", and "November" to name a few.

Then there are the split personalities - the cinematic interpretation of schizophrenia. David Lynch's films, "Lost Highway" and "Mulholland Dr." come to mind. Then there is "Fever", "A Beautiful Mind", and the recent "I, Anna" as well as "Trance", which have explored this phenomenon. "The Woman in the Fifth" belongs with this group.

Although that tricky shift between the real and the imaginary has probably been seen a few times too often now, "the Woman in the Fifth" does it well. This intriguing film has an affecting central story, a fascinating location and compelling performances all round.