L'équipier

A terrific film set in 1960's Brittany, France. Philippe Lioret has done an amazing job of capturing the lives of the Bretons and their reluctance to accept outsiders into their proud history.

An interesting piece of information is that the film was shot entirely on location and no models where used for any of the lighthouse scenes. This knowledge enhances the dramatic visuals as it is unbelievable that they were there filming in some of the situations shown.

Grégori Derangère (Antoine) does a stellar performance of the outsider and his struggle to find himself and acceptance, ultimately challenging the friendship of the one who has.

I thoroughly recommend it and truly hope that more people will see it even though it is not an English film.

This is the second time Sandrine Bonnaire has made a film in the rocky, ocean-lashed confines of Brittany--the first one being Voleur de vie, which I found better, truer to life. The story of a forbidden love that leads to pregnancy has been done so many times and Lioret is not the great director who can make it all fresh.

Grégori Dérangère is like a big friendly dog in this picture, not showing much emotion: we're supposed to admire his endurance and honesty but it all grew tiresome for me. Bonnaire shows how tough a Breton woman has to be amid the crashing waves and male stupidity, but her mind often seems elsewhere. Only Phillippe Torreton as the hapless Yvon shows any great commitment to the project. Once more he reminds me why he's one of my favorite actors.

I've only just discovered this French film. A friend loaned me an imported DVD copy and even though it suffered some surface damage (making it awkward to scan several small sections) I enjoyed most of this very interesting story.

While I felt some of the situations between principal characters may not have been developed as fully as necessary (having several writers never helps) I still found myself being drawn into their briefly intertwining lives. Having engaged in a brief stint of seasonal work in my own youth, I certainly can vouch for the animosity dealt out to 'strangers' who come to find work in small close knit communities. The film shines in capturing the arrogance of locals preserving their own 'limited home culture'

The performances are uniformly good, but the special effects are the stars. Wonderful Cinematography puts you in the action and captures the specialized, now lost, art of Lighthouse keeping. This is possibly the best glimpse into the lives of keepers of the flame since great French Director of Photography; Henri Decae, shot Kirk Douglases interesting (but sadly overindulged) problematic production "The Light at the Edge of the World" back in '71 (if you can find the better 'Short Version' of the Douglas film you may find it exiting) To "L'equipier's' advantage is the remarkable on-location filming (reffered to in the film as the end of the world) both during turbulent storms at sea, and within the souls of its characters. Film Sound man turned Director Philippe Lioret certainly works hard with this material, and his capable cast ~ Of particular note is Philippe Torreton as head Lightkeeper.

We only get glimpses into why the gentle Gregori Derangere character seems to be continually running away from his past IE: a scene where he sits reflectively in an empty Church...until his disclosure towards the end. The adulterous sexual encounter with his workmate's wife (up against a wall during a festival) seems a little out of pace with the rest of the film, as if it was deliberately set up to gain an 'A' Certificate. Some of the more violent encounters with townsfolk looked a little this way also, but the majority of 'modern' viewers won't be bothered by any of these activities. Overall, the poignant love story should engage a large cross section of viewers. The film also has a fine, unobtrusive music score that helps to knit scenes together nicely. Apart from one or two situations being over exaggerated "The Light" is compelling, and strikingly good looking Cinema. Ken Roche.

I have just seen this today at the French Film Festival at the Boston Museum of Fine Arts. What a very very romantic story; akin to The Widow of St.Pierre for me.I sighed such a big sigh when it was over. More than many films I have seen recently, I did NOT want it to end.It took me in and wrapped me up as only a truly wonderful film can do.Maybe I'm impartial. I know that Gregori Derangere has caused me to fall completely in love with a film character for the first time in SO many years. He is just so GOOD, so filled with love for everyone around him, and so quiet and handsome. As the French might say, Un Hero Veritable. And the xenophobia of these island Bretons is just SO oppressive and so insidious.For most of them, getting rid of the handsome newcomer is what preoccupies them for the length of the film. The cinematography ,framing, pace, mood- all excellent. Hats off to the director and screenwriter who understand that the most convincing, tantalizing and mesmerizing way to present sexual charisma and chemistry- is not through bare flesh but through glances and brief silent encounters. I know-I'm partial. Nevertheless,I am STILL sighing.

... but that, I'm afraid, is as close as we get to Virginia Woolf in this story of closed communities and acceptance of outsiders. Gregori Derangere, so good in Bon Voyage, is rewarded with another central role as the etranger who comes to the rugged, inhospitable (in more ways than one) Brittany community to work in the local lighthouse. Set in the sixties the story is told in flashback hung on the peg of a daughter who has returned to her roots to sell the house she lived in as a child and remembers the stranger/catalyst and the conflicts he triggered. Sandrine Bonnaire is on hand as the married woman destined to strike sparks off and with Derangere and it's refreshing that when they do, inevitably, get it on they do so out of doors in daylight - against a wall in fact - whilst the Bastille Day celebrations go on around them. Given that Bonnaire is married to Derangere's colleague, Phillippe Torreton it does tend to put the master bedroom out of bounds and the scene - the one and only time they have sex - reveals no tenderness or finer feelings, merely lust that nevertheless produced the girl through whose memories the story is filtered. Not perhaps to everyone's taste it is, nevertheless, a fine effort, made entirely on location and none the worse for it.