Le Bal

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.

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...

I'm not one to use the term "brilliant" when describing a film, but LE BAL certainly merits it. It sounds so dry when you tell people the plot: a bunch of people in a timeless (in more ways than one) dance hall in Paris, with a series of vignettes that give the viewer a history of not only France but Europe (and in some places, the world) from the late 20s to the mid-80s. And yet that's what it is and what makes it so incredibly brilliant. The director uses each time's music and dance to make a statement about life as it was, whether during the Occupation or the 60s era student riots. His performers are all, to a man/woman, spot on with their characterizations: the man who's more concerned about his perfect hair than the safety of his dancing partner, the controlling woman who rhythmically waves her hands to keep her men at a suitable distance, the near-sighted wallflower who IIRC never gets on the dance floor. Even the buffoons are so elegantly shaded that you find yourself rooting for them in the end.

This little masterpiece is now almost impossible to find, so grab it when you do see it. Trust me, you will not be disappointed. Yes, it is that good.

This movie is absolutely magical - taking place in a French ball room, it takes you through time. Year in year out, the music, the dances, the style and fashions change. We see the characters' hopes, fears and desires, we watch their interactions. We see how changes in the outside world affect them. Ettore Scola does this without letting his characters speak.The music, the cinematography, the dancing and interacting are the elements which let us experience the intensity of the voyage through time. Scola does not need language for this. However, this movie should not be mistaken for a kind of dancing medley. It is a keen observation of human behavior, accompanied with deep insight and empathy.