La classe de neige

Using dreams as a means of expressing a character's hidden fears and desires is an old trick, and Claude Miller overdoes it; there are probably more dream sequences than actual events in this movie. Some of them are startling (one involving a severed talking head, another a machine-gun massacre), but the story is boring (you don't have to be a detective to figure out the truth), and the kid is boring, too, with a fixed stare that never changes throughout the film (though it's probably not his fault, but Miller's). "La Classe De Neige" belongs in a subgenre that could be called "the world from a child's point of view", but doesn't make its way into the top of the list. (**)

There are both problem children and problem parents. In this TV movie Nicolas has an over-protective father who will not allow his son to ride on the school bus on their holiday excursion to the mountains. He explains that there are criminals around who kidnap children from side-walks, playgrounds etc. Nicolas being a sensitive child elaborates on his father's fears and has regular bouts of day-dreaming as well as horrific nightmares. This makes interesting entertainment. I like the intercutting of dreams and reality. The horror mounts from scene to scene in a confusing mixture. Nicolas confides to his friend Hodkann that organised criminals pounce on children and cut out their kidneys and livers in mobile hospitals. Sad-faced Nicolas is convincing as the imaginative child. He tells Hodkann that he is an informer and that he helps his father in seeking out these traffickers in human organs. Nicolas also reads horror stories at bed-time. "The Monkey's Paw" scene is a brilliant piece of technical manipulation. Nicolas asks his tutor if it is possible to make things happen just by thinking hard enough about them. This theme is pursued in many scenes where Nicolas manipulates scenes on the television screen e.g. he imagines his father in an automobile accident. I have the feeling that Nicolas is a really mixed up kid and his psychological problems result in worrying bed-wettings. This is alluded to constantly. Clement van der Bergh with his sad and unsmiling face is admirable as young Nicolas, and in contrast we have his happy-go-lucky friend Hodkann in constant awe of Nicolas's imaginative stories. The film centres about their friendship and their adventures. Their warm relationship is convincing. An early scene (actually a nightmare) shows an assassination of virtually everyone by terrorists who attack the mountain lodge. Yes, it's an exciting film that keeps you awake to the end.

I agree with most other reviewers in liking this movie, but I disagree with almost everything they say about it. First of all, it is not hard to follow, nor is it at all hard to tell what is real and what is not. The plot is actually fairly simple, and warning that it is so complex that you have to watch it twice and answer half a dozen or more convoluted questions before you get it is absurd.

It's also absurd to imply that you have to understand Freudian psychobabble to understand this movie. I don't know why people think they have to make a movie sound so hard to watch when it is not hard to watch at all.

I also disagree that this is a sad, solemn movie, and that there's no humor in it. The humor is dark humor (very dark), but there's a good bit of it, as when Nicolas imagines making out with the teacher and when the hooded terrorists swarm over the school mowing everybody down with machine guns while Nicolas calmly eats food the other kids have left behind in panic. Even the scars the camera zooms in on so often and Nic's father's antics and horror stories about organ pirates are funny. It's macabre, but it's very funny.

And the twist at the end? What twist? The end was obvious almost from the beginning of the movie. This is a movie, not a psychology test or an inscrutable riddle or even much of a thriller. It's a very smart, very dark comedy about children and crazy parents. In trying to over-analyze it, people miss its fun. Lighten up and enjoy it.

Not another coming of age film! It is but with the sinister twist of Claude Miller in control of poor boy Nicholas and his hang-ups. This is a fascinating entry into the mind of a young boy who is going through the motions of adjusting to life while on a school camp. There are certain elements surrounding him that make it that little bit complicated for our hero. And if you can relate to it, (like I did and now I'm a bit worried about it), then you will truly understand the boy's plight.

Screenplay coauthored by Miller and Emmanuel Carrière from the latter's successful and disquieting little mystery-thriller novel about an overprotected, highly sensitive boy whose dreams and fantasies of danger while on a stay in the mountains with his school may or may not presage real events.

Such a movie has plusses and minuses: it allows the filmmakers to bring the feverish visions of young Nicolas (Clément ven den Bergh) to vivid life, but it somewhat undermines the sense of uncertainty about what is real or imagined that makes the book effective.

The boy is stronger than I imagined him reading the story. Let's say that the actor puts on a face of shyness and gloom but I don't quite believe it. Still, as a viewer commented on the French website Allociné, "I feel this film does not betray the book." Apparently not shown widely or at all in the US. Beautifully done with excellent restraint, true to the book's muted style, a minor triumph for the underwhelming Miller, whose last admired film was The Little Thief/La petite voleuse with Charlotte Gainsbourg in 1988. Tied for Jury Prize at Cannes, nominated for Golden Palm.

I wanted to see this because I'd read the book. Easy French. This brought it all back, but wasn't quite as disturbing because you know the fantasies are fantasies, every time. In the book it's from the boy's point of view and you aren't always so sure. Lots of closeups of ven den Bergh's face don't make us see entirely through his eyes. It's all more externalized. Still, a nicely modulated mood piece, an excellent evocation of the darker side of childhood imagination. It's not so easy to be a kid. We forget that sometimes.