L'appartement

I knew nothing about this movie after being recommended to watch it by a friend, but I decided to take a chance on it as I have come to really like Vincent Cassel ('La Haine', 'The Crimson Rivers', 'The Brotherhood Of The Wolf'), even if I don't always enjoy the movies he's in (e.g. 'Dobermann'), and the added attraction of the beautiful Monica Bellucci, Cassel's frequent co-star and former wife, didn't hurt any either. The packaging proclaimed 'The Apartment' to be "the French Single White Female", and while there is SOME comparisons between the two movies I think it gives the viewer quite misleading expectations, and is probably best ignored. 'The Apartment' is more of a mystery than a thriller, and doesn't rely on shock tactics. Fans of Alfred Hitchcock, especially 'Rear Window' and 'Vertigo', which it deliberately references, will really appreciate this movie. It isn't as blatant a homage as say, Brian De Palma's 'Sisters', 'Obsession' and 'Dressed To Kill', but the influence is obvious. Cassel plays a man on the eve of his marriage, who unexpectedly finds himself pursuing an old flame (Bellucci) that he has unfinished business with. His search for her eventually leads him to what he believes is her house, but he is then surprised to find it is a case of mistaken identity, and a completely different girl (Romane Bohringer) enters his life. Things however are not what they appear to be, but to reveal anymore of the fascinating twists and turns in the plot, most of which are revealed in flashback, would be extremely unfair! Suffice to say this is a multi-layered, consistently interesting mystery romance which I found to be entertaining and unpredictable. Bellucci looks wonderful, but acting wise Bohringer is the real find here, while Cassel continues to impress. He has genuine talent and charisma and seems destined to become a major international star one day. I believe an American remake of this movie is due anytime now, but I seriously doubt that it will be half as good as this, so try and see it if you can. Highly recommended.

After two years working in New York in the 90's, the successful executive Max Mayer (Vincent Cassel) returns to Paris and will sooner get married to his fiancée Muriel (Sandrine Kiberlain). He has a meeting in a restaurant with Japanese executives and then he will travel to Tokyo. However, he glances at a woman leaving a telephone booth and he believes she is Lisa (Monica Bellucci), the greatest love of his life who had disappeared years ago. He finds the key of a Parisian hotel room in the booth and he calls off his trip to Tokyo trying to meet Lisa in the hotel. He sneaks into the empty room; finds an obituary and goes to the cemetery expecting to find Lisa. Then he follows the stranger Daniel (Olivier Granier), whose name he had overheard in the booth cabin, and finds an apartment that he supposes is Lisa address. Meanwhile Max recalls his romance with Lisa in flashbacks. Max borrows the car of his best friend Lucien (Jean-Philippe Écoffey), who is in love with his girlfriend Alice, to go to the apartment wait for Lisa. However, he finds another woman also called Lisa (Romane Bohringer). The mystery is clarified through the flashbacks.

"L'Appartement" is an intriguing thriller about missing encounters, obsession and serendipities with a disappointing and incoherent conclusion. The non-linear screenplay keeps the mystery until the very end. The performances of Vincent Cassel, Monica Bellucci and Jean- Philippe Écoffey are excellent, but the sexy Romane Bohringer steals the movie in the role of an outcast woman obsessed by her only girlfriend. Unfortunately there are many flaws and holes in the story.

The first one is indeed a continuity mistake, with Max's scarf vanishing when meets Lucien in the stairway and in the restaurant, but back around his neck when he goes to the airport.

There are questions not answered: Why Lisa had lodged in a hotel in Paris if she has her own apartment? How Alice financially supports herself? Why Max stays with Muriel in the end? Why Lisa trusted on a single letter, instead of looking for Lucien and asking Max's address in New York and send an ultimate letter?

My interpretation of the plot is that the lonely and needy Alice is obsessed by Lisa and creates all the missing encounters to avoid Lisa to meet Max and leave her alone again. But in the end, she finds that Max desires and loves her and she unexpectedly falls in love with Max. Therefore, she does not need Lisa anymore. However, my interpretation seems to be wrong based on the reaction of Max after reading her diary. But again, Alice is a manipulative woman and the viewer never knows neither what is written in her journal (maybe the real feelings of the true Lisa) nor her conversation without audio with Lisa. Further, Max is a romantic man that has never acknowledged the love of Lisa with him and believe his feelings are unrequited love.

There are references to "Rear Window" and "Single White Female", but nevertheless, the terrible conclusion does not make any sense. My vote is seven.

Title (Brazil): "O Apartamento" ("The Apartment")

I saw this movie in Korea back in 1999, and it lingered in my mind for a while after viewing. It was also my introduction to the hauntingly beautiful Monica Bellucci (HER face could launch a thousand ships).

The twists and turns and bizarre ending makes this a must see. I hope they release an uncut DVD version as I own the Korean release that had three minutes cut out.

Highly recommended and a film you can see more than once!

Forget the recent dire American remake which sadly tarnished the reputation of the French original by virtue of the director's involvement in both. This is a deftly- drawn romantic 90s noir with many twists and turns. It works best as a Gallic ode to Hitchcock's Rear Window, because the notion of voyeurism is the constant theme that fires the intricate screenplay. The story is stunningly realized, like a Picasso painting, offering multi-perspectives on the same event and demanding the viewer's participation throughout. The settings, music and haunting score are wonderful as well as the excellent contributions from the cast. Watch it more than once.

A very confusing film with nods to Hitchcock, some very good photography and little else. The plot involves the Hitchcock staples of obsession and paranoia but lacks the ultimate touch of the master - suspense. I was told that this film was a 'must see' and how great it was and how wonderful the structure was and how engaging it all was. Well, do not waste the time because this film is a pretentious, overlong piece of French 'style' - lots of visual cleverness and moody pouting (called great acting when it is in a French film) but little substance. At the end you could not care less what happens to these self-obsessed characters and I must have had a bad day because I could not follow a lot of this. The film uses a fragmented narrative by presenting the sequences in flashback and in no particular order. We are shown scenes several times and with new perspectives each time so we can try to make sense of the story, if one can call it that. I had to resort to looking at the characters' hair in order to figure out when things were happening. There was also a great deal of symbolism - red rose, white rose, red walls, white shirts, long hair, short hair, red shoes and on and on and on until I yelled enough! The symbols, of course, go nowhere and are presented in sledgehammer fashion so that we can marvel at how clever it all is even though it makes no sense. This is "Single White Female" meets French pretension made by a director who has studied too many Hitchcock films but failed the exam.