O Baile

J'ai été enchanté.

Ironically this film was nominated for the Oscar as the best foreign language film. It is not a foreign language film, it is a film without language, no spoken word. Everything that is worth to be told is told with music and dance. We see the history of the 20th century France as the history of a dancing. Times change and the dance changes with time. So the problems that people face change. Decay of the aristocracy, German occupation, youth revolution of 68, racial conflicts, everything can be seen on this dancing as well as the love, aspirations, despair, hatred.

The film is one of my personal best 25.

This piece is brilliant and it's tragic it's not more widely available. I just saw it for the first time in several years and was blown away at how perfect it was. Any dialogue would have ruined it, actually, because it was the finest example of European physical theatre I've ever seen. The casting was inspired. I am not in the habit of raving about films without qualifiers, but this one deserves it. The characters develop in such subtle ways, that it reminds me that this is not only a history of a ball room but of a person's life itself and the persistence of memory. It lends itself to so many layers of meaning, but still, it can be enjoyed just for itself...

A movie that carves its own niche in film history in the most delicate, ephemeral way imaginable. The cast is among the finest ensemble gatherings I have ever seen, and the combined efforts of all concerned seems to add up to far more than seems possible for what is basically a silent film. It reminds me a bit of the magical transformation Altman managed to create on the set of McCabe and Mrs. Miller, as if all the actors were put under the same spell, and responded to the challenge with a uniform brilliance.

The camera work in Le Bal is just as nuanced and evolved as the work of the actors, but it never feels forced or artificial. All of the actors I have seen in many other films, and they seem so much more self-aware than many of the actors you see in the states. There is a feeling from this film as if the actors themselves created it, for which the director deserves my highest praise. And the subtle way the film morphs from black and white to a hand tinted look to modern color throughout is also so masterful that you almost don't notice it.

This is NOT A FILM FOR PEOPLE WHO DON'T LIKE DANCING!!! It is a film for people who like to watch an exquisite evolutionary process. I liken it to an orchid, in that you learn a special kind of patience from waiting for it to bloom, but the blooms are always worth the wait, and last in the mind forever. I pray that a behind the scenes DVD will be released soon, as do many others, and recommend this highly.

A movie without any word, no dialogue, but you don't feel that something is missing. The music, the dance and choreography, replace any missing dialogue. You get a history of France as seen and heard from a dance-hall stage at certain points in time : 1936,1940,1944,1946,1956, 1968, & 1983. Special remarks for Marc Berman & Jean-Francois Perrier and for the man behind writing and acting Jean-Claude Penchenat - La "croix de feu". Real nice movie - a 9 mark.

This film it is only with music, no words and tens of characters. The same artist makes 3,4,5 roles. Each time I see this movie, I cry and laugh, I get convinced that Scola is a genius. A brilliant script, a conception very original, and many surprises in most of the scenes. I highlighted Marc Berman, Nani Noël, the Penchenat and Anita Pichiarini. What Ettore Scola made with this film should be repeated with all mankind. It is the world united by ball dance, popular music and not with words. What count are the ideas. Here in Brasil, the DVD of "Le Bal" still sells very well and is one of the most expensives. I wish that "Thêàtre du Campagnol" ever and ever have a success. Congratulations to all technicians for this magnificent spectacle.