Le temps retrouvé, d'après l'oeuvre de Marcel Proust

If you're looking for a movie that faithfully reduces In Search of Lost Time to 2 hours or so, this isn't it. But then, that's impossible, so you will be frustrated in your search.

What this is is a problematic movie.

If you don't know Proust's 4000 page novel, In Search of Lost Time, I suspect a lot of this movie won't make sense to you. If you do know it, on the other hand, you might be upset that X does not look like Proust's character A, that Y scene was left out, etc.

So, the best way to enjoy this movie - and there is a lot in it to enjoy - is to know Proust's novel well enough so that you can make sense of the movie, but then to forget about it and treat this as a movie that is not trying to film Proust's novel.

I could go on about the way the film jumps from scene to scene based on recollections of the narrator. One might say that that's Proustian, but Proust does not in fact jump from one short scene to the next. So I'll leave that aside.

What this is, for me - and I have seen the movie several times - is a remarkable collection of performances by some of France's greatest actors and actresses - and John Malkovich. The performances by Catherine Deneuve (as Odette; no, she does not look at all like I had imagined Odette from the novel, but she is radiant in this movie), Emmanuelle Béart (as Gilberte Swann; ditto), John Malkovich (Charlus; ditto in spades; he does not look at all like Proust describes Charlus, but he creates a remarkably moving and coherent character), Vincent Perez (Morel; he may look like Proust's Morel, but he gives him more depth), and Marie-France Pisier (Mme Verdurin) are all absolutely first rate, beautiful to watch. They make the film for me. Other characters important in Proust are either reduced to very small roles (the Duke and Duchess de Guermantes, the Prince and Princess de G) or vanish altogether (Swann, Marcel's father). But watching the above great actors and actresses give great performances is, for me, the great value of this movie.

If you want Proust, you'll just have to read it.

But if you want to see some of France's greatest actors and actresses at their best, you could do a lot worse than this movie.

I saw the film in the theater when it first came out. Now, I am viewing it once again on video. Unfortunately, I haven't gotten around to reading any Proust yet. But the film is beautiful. There is one scene in particular at a party I was quite taken by. Marcel is in this very crowded room,, where he seems to know everyone. yet, he seems to feel alone, detached form all the ridiculous social coteries and gossip. he finds comfort in his memories. the sound or smell or sight of something, instantly sends him back in time. he remembers an inconsequential moment. a moment in time when things were better, more bearable. or were they? did we really use our memories as a false comforting, a way to remember one's past as a better time, wishing things could be like that again. i loved the way raoul ruiz filmed it. the camera seems at moments to be floating in the air. at times, it seems the ground where the actors are situated is moving, rather than the camera itself. the acting is wonderful. and the music is eerily touching. a surreally satisfying film.

Ruiz was quite something back in the 80's, one of the most promising filmmakers I have recently discovered. He made films that throbbed with magic volition, with steps travelling inwards to the place where images are born. It was a dangerous cinema, sultry with the impossible.

Then came the second phase, the period of maturity as it were. More prestigious films starting in the mid-90's, starring actors of standing (Mastroyanni, Huppert, here Deneuve and Malkovich) and with some clout of respectability. Watching these makes me cherish so much more the spontaneous upheaval of Three Crowns or City of Pirates.

So, this is the landmark film of that second phase, a bulky, sprawling film about French writer Marcel Proust and his work. About sprawling deathbed recollections of a life lived, arranged into a story about stories in an attempt to reveal something of their machinations (and ours in weaving them in the mind, before or after the event).

It is a noble effort, with multiple points of interest.

Oh the sets are sumptuous, roomfuls of an impeccably dressed society at the doorstep of disaster—WWI is booming away in close proximity—who mingle in coquetry at the clinking sounds of fine glassware. Vice as the last means of sating a self that can never seem to please itself. Bunuel stuff.

Charmingly amusing tidbits abound, sure—a scene at the funeral, for example, of a decorated general, whose wife takes solace in a stash of letters she discovered written by the deceased brave. We know, of course, that the love pouring out of them was no doubt intended for his secret homosexual lover.

Now all of this as memory, with the narrator present and included in the scene of it. And then a camera—the internal narrator of memory—that introduces the distorted distance of time, this is quite marvelous, as actually reordering reality—furniture move around on whims, our narrator. Fine stuff so far.

But, this really falls with Proust's ideas on the role of fiction, the thinking man so hopelessly removed from the actual, tangible things of life, that he can only find solace in turning them to their spiritual equivalents. Who instead of loving, can only write about love; who wastes the manifold possibilities of 'now!' in tinkering with dead time.

Earlier filmmakers astutely exposed this destructive facet for what it is; a chimera of the mind that traps the soul in old films of memory. Resnais in his fascinating overall project about memory, Antonioni in Blowup, earlier yet it was film noir. Beckett has captured the dissication better than anyone, pungent stuff his. Ruiz by contrast romances the idea as though it was a pleasant stroll. He romances it so earnestly that it drains his entire film.

It is all so fine—like the glassware—so refined and pliable with some grace of apparent form. But a form refined to the point of ornament and sofness, mere trinket that is hollow and devoid of life. No other filmmaker once promising I can think of, matured into so much indifference.

TIME REGAINED

(Fr., dir. Raul Ruiz, 165 min.) doesn't even pretend to stand on its own; is an homage useless and unintelligible to anyone who hasn't read and remembered Remembrance of Things Past. Having digested only the first 2 of the 7 novels which comprise this opus, and this long enough ago to have allowed memory of them to deteriorate, I confess much of the film remained beyond me. But even with the book as scorecard, the film functions as hardly more than a metasoap opera, a costume pageant of the book's characters who parade by, talk and walk, without ever coming to life.

Nothing much happens onscreen; the movie is practically void of action. Despite impeccable staging, it consists largely of one conversation after another, endless scenes of dinners, lunches, social gatherings, etc., in which people dispassionately discuss events and relationships that have already transpired elsewhere. To make up for this, Ruiz moves furniture about, has near and far fields migrate disjointedly in opposite directions, litters the screen with symbols and leitmotivs, and mingles different times in the same frame, so that, like Bruce Willis in Disney's Kid, Proust observes, is observed by, and even converses with his younger self. Scenes shift so fluidly back and forth through time that one easily gets lost, disoriented, unless thoroughly familiar with the book.

The movie fails, has to fail, because of the impossibility of translating the book to film. The book is too introverted, too subjective, too fundamentally static and multilayered. Cinema-time is linear and dynamic; even though it can create the illusion of multiple things happening at once, it is restricted to a sequence of events, actions, happening one after another, one at a time, all of which are, above all, visual, graphic, right there before your eyes. The novel, however, layers the past on the present so that the two effectively coexist, are simultaneous; and delves into subjective states and ideas, interweaves mood, reminiscence, and philosophizing inseparably with place and person. The subject of time and memory, as elusive and evocative as it is on the page, is near nigh impossible to get hold of with film, that most literal and physical of mediums. It's like trying to photograph the passage of mist, of fog--all you see is a mess of grey.

The movie also fails because it can only gloss the myriad details with which the novels slowly, deliberately mount their magnificent edifice. In the end, all you get here is a rushed visit, a mad dash through a museum of images, a disordered travelogue of the psyche.

Well, I had only ever heard of Proust before this film from a Monty Python sketch of the "Summarise Proust competition" (contestants had to summarise In Search of Lost Time once in evening wear and once in bathing suit). I was worried I might hate this film, not knowing anything about Proust other than he wrote a multi-volumed masterwork about time and memory. Then I saw it...wow! I cannot praise Mr Ruiz enough for what he has achieved. The camera work, sets, and lighting are stunning. As Marcel's memory takes him back and forth through his life, the sets and furniture often move around whilst the scene is played out - all emphasising the fragility and hallucinatory qualities of his memory. And there is the music...wow again. It is never intrusive but always creates the perfect background to what is happening on screen. It is not overly sentimental and never tries to force you into feeling emotion (unlike someone like John Williams/S. Spielberg who tries to ram it down your throat). As for plot, many characters and relationships are never fully explained or revealed. Many reviewers seem offended that a film expects them to display attention and interest, but I feel that they're missing the point. Plot is often not the point of the film, instead it is a film about time and memory (hence the title!). Plot is not allowed to dominate the narrative structure, it is the emotions and memory of Marcel. The most offensive thing that some other reviewers seem to find about this film is that it is novel and original - what a crime!! I had never read Proust before I saw this film, but I have a long enough attention span and an open enough mind to appreciate the sheer beauty of its images and the wonderful originality of its style. I urge anyone remotely appreciative of excellent filmmaking to see this film. It might even, as it has with me, motivate you to read the book. I am now three and a third volumes in and it is the greatest and most beautifully written novel I have ever read in my life. Thank you Mr Ruiz and thank you Marcel! SEE THIS FILM NOW!!!