La passion Béatrice

I've never been able to shake this movie. Although I hated it while watching it, its authority convinced me utterly that its portrait of medieval castle life as lonely, dreary, and brutal (contradicting the swashbuckling fantasies in which many of us are apt to indulge) is the way it probably was. Indeed, the recollection of that awful, far-flung, yet confining world overrides and incapacitates every representation of the period I've seen since. It must be one of the most convincing views of a historical era ever put on film. The film itself is brutal; that was one reason I hated watching it; but in retrospect I believe there was no other way to tell the story fairly, and certainly it's the humanity of Beatrice, not the inhumanity of her surroundings, that the film leaves as its final impression. If this isn't a great film, it's a commanding and uncompromising one.

Bertrand Tavernier's medieval tragedy is steeped in the superstitions and squalor of 14th century France, offering an all too vivid depiction of a world shackled by its misplaced faith in a divine order behind our Earthly chaos. The script (written by the director's ex-wife) presents a chilling portrait of a nobleman whose fury against women is only one expression of his rage against God. Thirty years after murdering his mother's lover, he brutally torments his own son and corrupts his adoring daughter by first raping her and then proclaiming his intention to take her as his wife. Tavernier captures the often oppressive atmosphere of the setting with plenty of nervous energy, carried along by a restless hand-held camera and the director's astonishing eye for (presumably) authentic period detail. All the primitive manners and arcane medieval symbolism make the film perhaps easier to respect than enjoy; it's a dark and violent film about a dark and violent age, when women, like cattle, were not thought to have immortal souls.

Set in Medieval France, La Passion Beatrice explores the coming of age of a young woman. The film is very bright and colorful, in contrast to the dark themes. The brightness works well to maintain the outlook of youth, of hope, of optimism in the face of the meanness of middle age life. In contrast to the brightness of Beatrice is the darkness of her war hero father who has become a vicious bandit manor lord.

Quite strong, even if a fairly repulsive story.

Watch this once on video with the subtitles covered so you can concentrate on the imagery.

It's an isolated medieval French castle in the middle ages. François de Cortemart grew up without love. He murdered his mother's lover which deprived him of his mother's love. Decades later, he has two children; Béatrice (Julie Delpy) and Arnaud. Béatrice is the purest of innocence. She eagerly awaits her father's return from war with the English. Upon his return, François unleashes his cruelty on his children and the people of the castle.

Julie Delpy is magic. She's unforgettable. Her incest rape is disturbing. My main issue is the cinematography and directing. There are some impressive shots but mostly, it's rather dull. The use of a real place may actually hinder any imaginative camera work. The subject matter is also very tiring. This is not a fun time. This movie grinds down the audience.

Filmed entirely on location ,"la passion Béatrice"avoids the pitfalls of the historical reconstructions.No cardboard,only a fortress and a desolate landscape where the winds endlessly blow. Back from the Crusades,a knight (Donnadieu,impressive) has lost all that he used to believe in.The Quest he has done has nothing to do with the Holy Graal,it's only death,crimes,rapes and plunders.Tavernier warned us before he began his tale:in the Middle Ages,there's Good,there's Evil,and there's nothing between the two concepts.The knight's bestiality is some kind of suicide -as the ending testifies- but ,like his son,he is a coward afraid to die.God is silent,and the wooden statue of Virgin Mary and Child has something definitely frightening.As if it had turned into some pagan divinity.Some would make a parallel with Donnadieu's character and Von Sydow's in Bergman's "the seventh seal"(1958).But the latter ,whose faith is not enough,wants to know the truth.Tavernier's knight is well beyond this stage .Actually,and this is the movie's greatest originality,this man has the psychology of a contemporary man:the truth is no longer important,for God is dead and with his family -particularly his daughter- there can only be war and destruction. One can regret the small "the most dangerous game"(1932) rip off and the slow pace.With more than two hours,parts of the film seem to drag on,and when Donnadieu is not on the screen,some people may yawn their head off. Thus,I would recommend it mainly for people who like works such as "the seventh seal" or Bresson's "Lancelot du Lac" (1974).