Amor Suspeito

Borrowing a few techniques from the likes of Lynch or Haneke, La Moustache presents an engaging but intentionally confusing story of one man's facial hair and the strange series of events that are set off once that hairy upper lip was removed. Acting as a catalyst in this bizarrely written mystery, The Moustache really plays better as psychological drama then the semi-ludicrous, detail-specific, identity riddle it's seductive direction and powerful performances wooed us into believing. Guided by typical cornerstones of praised European fare, this film, as stubborn or illogical as it may be, is punctuated by the restrained and observant direction of it's original novelist Emmanuel Carrère, and crowned by the masterfully human performance Vincent Lindon imbues this difficult character. When the final credits have rolled, many will be left scratching their heads, already forming diverging conclusions as to what this movie actually had to say. Though there seemed to be too much left to speculation with too many plot holes to justify everything I saw, this was still a compelling mistake at worst and is still worth taking the shave even if the final result feels more pretentiously derivative then compellingly original.

French author Emmanuel Carrère's sole venture into feature filmmaking by far, LA MOUSTACHE is adapted from his own novel published in 1986, a head-scratching story about a middle-aged French man Marc (Lindon), whose life starts to collapse after he shaved his trademark moustache on a whim, and everyone around starts to behave that they have never seen him in moustache, including his wife Agnès (Devos).

So, under this presumption, there could be two possible explanations: either Agnès is right, so Marc must have some serious psychological issues should be treated with kid gloves; or, Agnès is lying, when having dinner at their friends', Agnès is accused as an incorrigible liar by her ex- boyfriend Serge (Amalric), which might insinuate that an underhand conspiracy theory is in the pipeline. Cinematically, it is rather an intriguing premise, however, in hindsight, as the film turns out to be an experiment completely open to each individual's own interpretation, Carrère knowingly oscillates between these two scenarios lest the plot would veer to either direction with no turning back.

Take the example of the photo albums Marc finds, it is a trip to Bali years ago and obviously he is sporting a moustache in every picture, but, instead of pushing forward his proofs to Agnès or his friends, he chooses to withhold it until the album goes missing, if that's a slip of mind, later we clearly see his moustache in both the head-shots in his wallets and his passport, why not show them to contest his belief, or just visit his parents, who should know the truth, but no, because, it would channel the story into a dead-end, either Agnès is right or she is playing a bigger game to dupe him, either way, it would lose the mystical allure.

So, out of wits to keep the suspense rolling, Carrère employs a brisk geographical shift to Hong Kong, where Marc aimlessly and tediously moseys on ferry rides, an economical transportation in a metropolitan city (which might be used to save a fair amount of cost in shooting whilst the crew could enjoy their vacation), so as to buy some time to let his moustache grow back, then, bang! Surreal events materialise again, and viewers have no sooner recovered from the bamboozling revelation than the film reaches its succinct finish line, admittedly, it is an in-your-face anticlimax.

Masked as an existential fable, LA MOUSTACHE intrigues at first, but pretty soon loses its sway and resorts to absurd-ism and metaphysics, which could be an alternative to lift the bar, like Denis Villeneuve did in ENEMY (2013), but in this case, it only betrays the filmmaker's incompetence to concoct up anything could possibly give a plausible justification, a cheap cop-out always tastes bitter and gets under one's skin.

This is a strange story of mental illness (at least that's how I chose to interpret it). A man, Marc, gradually loses his grip on reality after shaving his mustache that was always there as part of his look as a man (or at least he thinks it was). The movie is seen through Marc's perspective which makes it difficult to discern reality from his bouts of schizophrenic hallucinations.

At some points the movie reminds me of Lost Highway in the manner with which it represented the split of the protagonist (or rather a metamorphosis) into two different characters. In La Moustache the split happens at the level of the "life" of the protagonist, his world is constantly subjected to transformations, while he more or less stays the same. However in LH we can discern the "true" part of the protagonist from his "imagined" part. That distinction is impossible in La Moustache ; we don't know where his madness starts and where it ends. He is a total mess, and it is upon this ambiguity that everything we see is built.

All in all, this movie was a really nice surprise that I highly enjoyed and that I recommend for fans of Lynch, Cronenberg and psychological thrillers/dramas.

Darkness prevails already at the very beginning of 'La Moustache', Emmanuel Carrère's proper adaptation of his novel of the same title, which he published back in the 1980's. Accompanying the opening credits is Philip Glass' perfectly composed and utterly gloomy Violin Concerto, which re-emerges throughout the movie and constantly supplies the global atmosphere of the film with an ominous and bewildering touch.

Welcome to this year's most abstruse film, and eventually the most challenging psychological experiment since 'The Machinist'. Presented at the 2005 Cannes Film Festival in the 'Quinzaine des Réalisateurs' category - a category promoting abstract and rather unusual movies - 'La Moustache' follows the intricate story of Marc Thiriez (Vincent Lindon), an ordinary Parisian architect who slips into a vicious identity crisis after he spontaneously shaves off his moustache.

"How would you react if I shaved off my moustache?" Marc asks his girlfriend Agnès (Emmanuelle Devos) before they visit some friends for dinner. Her reaction is not immediate, and she simply replies "I don't know; I love you with it but I've never known you without it." So while Agnès leaves the apartment for a short time to do some shopping, Marc takes the risk and cuts off his beloved moustache, just like that, in order to see his lover's face and analyze her reaction when she returns home.

However, Marc will be severely disappointed: upon Agnès' arrival, she does not utter one single word. She seems not to notice the major physical change in Marc's face. Nor do their friends. Even Marc's colleagues at the office fail to perceive the absence of his moustache. Is he on the verge of madness? Or has he become the target of a massive conspiracy triggered by his own girlfriend? More weirdly, did he even ever have a moustache? Or was it part of some unexplainable imagination? Marc has no clue at all how to react to his baffling new situation…

When you enter the official movie website, a big question mark appears at the end of the flash intro. This question mark is totally appropriate, since it clearly illustrates what kind of movie 'La Moustache' really is: namely a confusing, puzzling drama with an open ending and a number of unexplainable twists, flashbacks and mysterious appearances by characters when you least expect it. "What is 'La Moustache' about?" is the first question of a recent online interview conducted with Emmanuel Carrère. The director himself has no answer to that crucial question.

Indeed, 'La Moustache' is one of these attention-grabbing cinematic mysteries that first baffle the spectators, and then leave them behind with a bunch of questions unanswered. There are though, in this ingeniously structured and passionately filmed movie, some easily detectable themes. For once, 'La Moustache' is an analysis of a dysfunctional couple tumbling into a conflict driven by mistrust. Marc soon accuses Agnès of plotting against him, but Agnès is deeply persuaded that Marc has in fact never had a moustache. This marks the beginning of a series of violent arguments and disputes.

Moreover, Carrère's film closely focuses on a man struggling with the inevitable loss of his personal identity. Marc is unable to distinguish between reality and imagination, and so he struggles hard to uncover the origins of the problem. He is a man all on his own against the rest of the world. In his apartment, he finds some old pictures from a vacation in Bali, all of them showing him with a moustache. But is he really the only one to see it? Is the moustache on this photo real or not? He does not know, and we do not either.

Especially the first part of 'La Moustache' is intensely compelling and dark, examining the relationship between Marc and Agnès, and closely focusing on Marc's progressive battle to keep his emotional and moral nature under control. When his consciousness slowly begins to shut down, the tension mounts as the suspense grows and the atmosphere becomes more and more threatening. Carrère has a brilliant vision, and he captures Marc's way into madness in a diverse and appealing way.

Marc is the perfect role for Vincent Lindon, whose look is continually as puzzling as the story itself. He masters his role with ideal perfection, always acting authentically. The same can be said about the brilliant Emmanuelle Devos ('La Femme de Gilles'), who delivers an enigmatic performance as Agnès. Her complex character is a true object of curiosity, and no one can trust her. Is she the evil woman ruining the mind of her partner? Or is she the reasonable person? Question marks à gogo.

The last twenty minutes of 'La Moustache', which follow Marc to Bangkok, where he repetitively embarks and disembarks ferries all day long, are quite debatable, yet very challenging. The film reaches yet another climax, takes another abrupt twist, and once again challenges us spectators by sparking our curiosity. Please do not expect a satisfying explanation towards the very ending, because 'La Moustache' ain't going to give you one. Many pieces of the puzzle remain untraceable; but that's exactly what makes this masterpiece so intriguing and unique. (Grade: B+)

At first, through the first third of the movie, I was sure that the film was an allegory about the architect's family and friends never actually noticing him (or his moustache). Things got confusing to me when he didn't press his wife about the Bali photographs (which appear to confirm he's NOT crazy), his wife is apparently trying to have him committed and he suddenly escapes to Hong Kong.

Though I did enjoy the film immensely in all its detail, I kept feeling there must have been a link between his moustache (and the identity crisis shaving it off led to) and his father's death. His father's death seemed to have discombobulated him.

Did his own confusion about his moustache symbolize his inability to digest the death of his father? Was he dreaming all of the confusion about his moustache?

In the end, I'm left with questions only. Nonetheless, I did enjoy this film and would like to know what other people think of it and what they make of it.