Ferida Aberta

This is not the greatest film by Pialat, but is still far better than most others of its time. It was his third feature, and the first set in his native Auvergne. Monique, a woman in middle age, is slowly dying of cancer, while her husband Roger tries to cope with his feelings of desperation by chasing women. The scene with the girl trying on the yellow pullover in Roger's store is marvelous: he feels her breasts while she seems not very upset over this, or amused either. Philippe is the only one of their children who is still around, and he seems to be following his father in philandering. His marriage with Nathalie will be a rocky one if he can't settle down. Nathalie herself is intelligent, maybe a bit too much for Philippe.

Pialat takes such chances when he shoots a scene: see the opening with Monique and Philippe at home listening to Mozart and talking about family matters; it goes on almost ten minutes, dangerously long you might think, yet Pialat and the actors bring it off beautifully. Hubert Deschamps settles into his part so well, he hardly seems to be acting at all. Same for Monique Melinand and Philippe Leotard; only Nathalie Baye seems a little self-conscious at times. Nestor Almendros was the cinematographer, he had already worked with Truffaut and Rohmer. Pialat wanted available light whenever possible: this accounts for the occasional muddy moment in the film. Is La gueule ouverte available as a Region 1 DVD yet?--if not, why not?

Maurice Pialat's The Mouth Agape is a film about death and everything that surrounds it from diagnosis to burial. It's a film that also explores how it effects everyone close to the central character Monique whose dying from terminal liver failure.

The Mouth Agape shares the same subject matter with Ingmar Bergman's Cries and Whispers which came out a couple of years earlier. I like to think of this film as the Yin to Cries and Whispers Yang. Stripping away the melodrama and heightened sensibility that was prevalent in the cinematography of Bergman's film. Pialat directs this film with a cold, detached nuance. His methodical almost clinical approach to illness and death delivers a striking viewing experience.

Unfortunately any plot developments that splintered off from the main story surrounding Monique became slightly dull, and had me wanting the film to focus back on her. Also I didn't find myself as engaged with the characters unlike Cries and Whispers. Every actor gives a good performance, but they didn't have much of an emotional impact on the story.

Whilst the film didn't leave with the same visceral gut punch that Cries and Whispers did. Watching Monique's disease slowly consume her through the duration of the film left an impact worthy of recommending this film to those that haven't seen it.

This was appalling and irksome to watch.

It is very possible to be appalling and irksome, yet still either entertaining or interesting.

Barring these two bare minimums, an otherwise discomfiting film needs to be able to evoke emotion in the audience; to get us to care or sympathize with the characters.

Maurice Pialat did not do any of the above with this film. Difficult to even care about the dying woman, whom could be the victim by some perspectives. Victim of some tragic circumstances in her terminal illness, but perhaps as bad, in the form of her callous son and seemingly heartless, philandering and remorseless husband.

Realism is an admirable trait in any art production and storytelling, yes. Portraying death, dying, and complicated familial bonds with unsentimental, uncompromising raw honesty is indeed something to be applauded. But when the film is unable to successfully garner interest or investment, even in the form of cheap laughs or morbid fascination, this means little.

The film makes a noble attempt at redemption in the final moments, but it was too little, too late. Barely believable, after the characters acted the way they did for so long, with no sign of understanding the pain they were causing, nor any shame or intention to change. Quite a pity, because that penultimate tracking shot, zooming out of the family's now emptier than ever lives, could have made an A+ clip with a plaintive accompanying soundtrack!

My Rating : 6/10

When death comes knocking at the door...

'The Mouth Agape' greatly reminds me of 'Cries and Whispers' and 'Amour' however it is more organic and real without the fancy aesthetics and settings.

Well-executed family drama with some great moments towards the end. Interesting to watch it for the immediate family's reactions.

Death is certain and unpleasant and 'The Mouth Agape' gives a serious treatment to the subject with realism minus all the cinematic embellishment (which is a good thing!).

The Center for Arts of my university is screening all of Pialat's movies this month. 'The mouth agape' is the eighth Pialat film that i've now seen (out of 10) and it is right up there, not only as one of his best along with Loulou, naked childhood, and Van Gogh, but as a striking work on the subject of death. We see an elderly housewife during her last days, who finally dies just when her pain and suffering compels even those who love her intensely, to wish for the dreaded moment to come fast. But the movie is more about how her disjointed family, comprising of a playboyish husband (who, even as an old man, cannot refrain from flirting with any and every woman he runs into), a son who's gone on his father's footsteps and daughter in law, who in a sense mirrors the lady's life. A young and lovely Nathalie Baye plays the daughter in law, and is one of the several stand out performances of the film. In short, death is a hard subject to make films on, but Pialat, with masterful touch, does so with unflinching realism, and the movie has several truly beautiful moments.