Les amants du Pont-Neuf

There's a lot to say here about the performances of Juliette Binoche and Denis Lavant. Lavant is always good in Carax's films; here he is simply outstanding. And seeing Binoche play a character with dimension, for once, is a pleasure. The real surprise is Klaus-Michael Gruber whose Hans is perhaps the most believable aspect of the film.

But what draws me to this film--tied for best of what I've seen Carax do, along with "Mauvais Sang"--is the photography, sound and editing. Carax understands the use of image in narrative, and how to bring discordant scenes together to provide the sense of desperation needed to make this love story, so far removed from mainstream film romance, believable and engaging. From the opening soundtrack to the climactic scenes given over by his masterful use of jump cuts, Carax outdoes others, some long-established, who came late on the scene with these tools (Bertolucci; Soderbergh). What Carax started craft-wise with "Boy Meets Girl" he perfect in "Les Amants du Pont Neuf."

If Lavant, Binoche and Gruber are not reason enough to rent this film, then Carax's pictorial ideas, carried through with his incredible sense of craft, should more than suffice. Sad that the film has suffered so quietly without major recognition, when, clearly, others have borrowed from it so willingly.

Obsession, addiction, violence and love. Sometimes all four at the same time. If nothing else, this movie is a complete roller-coaster ride through the emotions. It's hard to say whether it's really a love story. Is it love when you want to possess someone to the point where you would rather they go blind than go away? Is it love to want to drag someone down with you to bottom of your own degradation? Is it love when you would take someone's life because they wanted to go home? But then again, is it love when you allow all this to happen and still come back for more? I have my doubts.

This is really a story of obsession and possession between two people who find themselves marooned out on the edge of human existence. They find something like tenderness, something like love by holding on to each other like two children lost in the dark woods. But obsession is ultimately destructive and so it is here. Alex wants Michelle but never really shows any real tenderness. He has nothing to offer except cheap wine and an old overcoat. He is destructive, violent and child-like. The relationship between Alex and Michelle is quite impossible to comprehend sometimes. What this movie does have is passion. But this is real life passion. Real and raw. If you ever see real people like Alex and Michelle, and they do exist, you can see how they cling to each other, how they abuse each other, how they are possessed by their lifestyle, unable or unwilling to fight their way out of their humiliation. So in the end they just drag each further down, drowning in hopelessness.

But just as you think the story is going to end in tragedy...well you have to watch it for yourself.

The cinematography in this movie is breathtaking at times, but in a very unconventional way. It is beautiful to watch even though there is precious little that is attractive. Paris looks by turns both shiny and exciting and then dark, grey and filthy. Which, if you've been there, you will know is exactly how it is. There is not a single shot of any famous Parisian landmark either. Only the river Seine and the bridges around Pont Neuf are part of the landscape in this story.

It's really an ensemble piece for two characters; two characters caught up in obsession, possession and some kind of love story. The two lead actors, Juliette Binoche and Dennis Levant produce performances of real emotional power and subtlety. There is nothing coming out of Hollywood to match movies like this, nor are there many actors, if any, who could get close to performances like these. One day the Academy will begin to recognise that acting and movies is not just about box office returns and bestow their awards on movies like this.

Oh, please. I used to say I could watch Juliette Binoche read the phone book, but this sorely tested that theory. What a mess of a movie! -- by turns a tired liberal pseudodocumentary on the homeless (though by the end, you realize that according to this flick, homelessness is a byproduct of personal misfortune and not, evidently, any societal forces), a down-and-dirty romance (Binoche can be forgiven; what actress [or actor] wouldn't want to play a one-eyed homeless artist losing the vision in the other eye?), an extended music video, and God knows what else, all set in a Paris largely devoid of traffic and people. Completely lacking *internal* logic (and yes, fables do need that), it seems to have acquired quite a few devotees drawn to its alleged "poetry." All I see is pretentiousness and self-indulgence. If the other reviews here tempt you to see it anyway, that's fine; but don't say you weren't warned.

This move teaches us "Love doesn't need any money". This couple was living a life honest to themselves. The expression of uneasy feelings is one of the kind. After he gets out of jail, they are shinning in the night sky of Paris. The fireworks scene and music selection, everything was artistic. Congratulation! I gave it 8 stars. This movie became one of my favorite French movies.

I've just watched this film and, out of curiosity, the comments of several contributors to this bulletin board. Simply can't fathom the glowing enthusiasm of most of these - though I suppose they are self-selected from those who have actually been able to sit through it.To me it seemed phony, pretentious, and in the end unbelievably boring - both words here seem applicable alone as well as in tandem. I'm rather fond of Binoche, and this may have something to do with my impression that she found the role one that couldn't be played convincingly - that she as a result could only stumble through it sans conviction. Why did I then watch it through? In the hope of some saving grace - which I certainly failed to find in that silly resolution.