O Regresso

Faultless in execution - but I couldn't relate to the characters, nor to the situation. Neither tragedy, nor comedy ... it just dragged on interminably. I only watched because of a certain nostalgic feeling for the bygone days of Dirk Bogarde; ironically I found Jane Birkin's performance much more engrossing (his, not at all, actually). Or, perhaps it was her beauty and animation that kept me watching.

I second Victoria's comments. A profoundly moving film.

Caroline loves her father and craves his attention, but he has lived a self-indulgent life and never gave her the time and affection she needed. Now, as time is running out, they both strive to heal their relationship.

A superbly successful investigation of the relationship between a woman and her father, that both analyzes their feelings and narrates their efforts to reach each other, and which ends in a timeless, transcendental moment capturing the bittersweet and ephemeral nature of life.

For me,as a man, the film gave insight into the father/daughter relationship; I notice that young women gave this film a higher rating than other groups.

Also, one of the few English language films of Jane Birkin widely available in the USA, along with Dust and Kung Fu Master. A uniquely sensitive actress with a large body of work in French cinema.

After extensive heart surgery, a retired businessman living in the south of France returns home to convalesce. There he is visited by his daughter Caroline. As his health declines, Caroline is confronted by all the familiar behaviour patterns of her relationship with her mother and father.

This is an exquisite example of cinematic subtlety and understatement from Tavernier, Bogarde and Birkin. Tavernier enables his actors to create an intensely realistic 'family' - proud father, long-suffering mother, loving yet insecure daughter - all struggling to come to terms with the fragility of life. Bogarde and Birkin are deeply moving as father and daughter, clumsily struggling to communicate as adults after a lifetime of parent and child, and Laure provides selfless support, raging silently against the inevitable.

As a study of life's finite nature, this is faultless. As a final outing for Bogarde, it is a fitting and extraordinary tribute to a master-craftsman of the cinema.

Daddy Nostalgie centers its attention on Jane Birkin's character, Caroline, who is a successful screenwriter based in Paris. As the story opens, she receives a call from her mother explaining that her father is in the hospital recovering from heart surgery. Tony Russell, her father, played by Dirk Bogarde in his final role, was a successful international salesman who had to spend much of his career traveling abroad. Caroline, ever the dutiful daughter, then travels to the Cote d'Azur to be by her parents' side during this family crisis. During this time, Caroline finally has a chance to get to know her father for what might be the first time.

While most films tend to gloss over the more complex and lasting aspects of familial relationships, this film focuses on them. In life, every action is steeped in history, and every action carries with it consequences for good and/or for ill. This film is true to that reality. Daddy Nostalgie examines how people live with the consequences of their actions, how those consequences often echo through the generations, and how we can both love and hate someone at the same time.

What makes this film superior is how the director is able to show the emotional complexity of the characters. They are forced to confront many opposites, such as love and hate, life and death, marriage and divorce. While struggling to remain calm on the surface, each character must try to suppress the emotions being churned up within. Tavernier is able to show how everyone is successful, but only to a point, of maintaining such a false front. All are trying to hide their feelings from the others, but also from themselves. And it is why and how they maintain these facades that make this film both interesting and bittersweet.

Dirk Bogarde is wonderful in his last film. Everything we remember from the past is here: the laconic smile, the raised eyebrow that seems to say Oh, really?, the perfect timing. Add to these the lassitude that comes to those whose hearts are functioning far below standard--the story starts just after his heart surgery. Jane Birkin is playing a character for once whose life is not a caricature, as it was in too many of her films--you don't remember the Gainsbourg years when you see her here. Odette Laure as the mother is new to me, but she plays very well indeed; she is the watchful manager of her husband's declining resources.

The use of flashbacks slows the film down, makes it less tense, but that is a minor cavil. The final scenes, with the exasperation of the beginning gone, are terribly poignant: the setting sun remark from Caroline, Daddy's comments on the management of pain as they stand in the garden, then the discussion of love in the car. Here the cinema goes as far as it can in expressing regret and acceptance.