Villa des roses

In the world of Belgian cinema, Frank Van Passel has been more than just a name for quite some years now. Both 'Manneke Pis' and 'Terug naar Oosterdonk' made an unforgettable impression and made him perhaps the most important Belgian director to walk the face of the earth. Recently, though, things grew a bit quiet around Frank Van Passel, but let there be no mistake about it: he is back. And how! A firm script by Christophe Dirickx, years of hard work by Frank Van Passel and a for a Belgian movie most extraodrinary cast (Julie Delpy, Shaun Dingwell, Hariet Walter, Jan Decleir, Dora Van der Groen and Frank Vercruysse), all these ingredients make 'Villa Des Roses' an incredible and unforgettable cinematographic experience. Though I was fairly sceptic about the mix of ingredients, the result is more than convincing. Each character receives a well-balanced attention. 'Villa Des Roses' is a must-see and I hope that audiences abroad as well as distributors worldwide will acknowledge, through this sutble masterpiece, that Belgium is more than capable of producing great cinema.

In the great line of both Belgian cinema as well as European cinema, Frank Van Passel keeps up with the likes of Kümel and Delvaux on the one hand and maybe even the Tavianni brothers and Kieslowski on the other hand. In time, 'Villa des Roses', will prove a corner-stone experience of Belgian cinematographic capabilities, and this along with the line of traditional great names of the past (mentioned above), names that also shaped European cinema into what it is now, or better into what it should be: rich quality. One can only hope that this period of time will be a very short one, for audiences abroad shouldn't be deprived of this work of art.

Even though I haven't read the book this movie was based on, I'm sure that it must be a lot better than the movie itself. Willem Elschot, the writer who wrote the book is seen as one of our finest and his books are considered as masterpieces, but I'm afraid I can't say the same about this movie. I'm not saying that it is bad, but it just isn't good enough and I'm sure that Willem Elschot wouldn't have been too happy with this rather sterile adaptation of his book either.

It's sterile because there are too many questions that are left unanswered. Not that I always want everything to be clear even before the movie ends. I like intellectually challenging movies, but this time you never really get to know the characters, you'll not find out what drives them, what exactly happens to them, why they all live in that lousy hotel in Paris that once must have been a marvelous villa... It all looks very gray and dull, even though the "relationship" between the maid and the German tries to bring some light to it. But it isn't enough to stay focused on the entire story.

Maybe you think now that this movie must be the worst ever, well that's not true either. Frank Van Passel is still a very talented director and he had an excellent cast to work with. Some moments in the movie were absolutely great (for instance the abortion scene was very chilling), but it was never enough to cover all the holes in the plot. I give this movie a 6.5/10.

Do not go to this movie if you haven't read the book by the Flemish writer Willem Elschot. This movie is very boring and lacks all interest because you cannot identify with the characters. Does Grünewald (Shaun Dingwall) love Louise Créteur (Jules Delpy) or not? Does he become a deserter at the end or is he killed in the war? Why does the German commit suicide? What happens with the old woman Gendron (Dora van der Groen)? Grünewald must be something of a German superman that an American widow falls in love with him at first sight. This movie is slow and dark, is it always raining in Paris? Behalf of that you don't feel the Parisian atmosphere. It could be London at the end of the 19th century or even a German town at the same period. The lawyer (he was a lawyer), who is the real "chief" of the pension has no personality at all, he could as well be the postman ringing at the door. The end of the movie is the best: then at last you see that Louise Créteur has feelings and that she can cry. Every time that Grünewald wants to declare his love, somebody intervenes very artificially to interrupt their tentative to some conversation. Is Grünewald the "man with black hair" who is going to ruin the life of Louise as a fortune-speller predicts? The abortion seems to be done so that Grünewald never knows it, which is impossible. And how does Grünewald react to this remains also a mystery. The war scenes are superfluous and without interest. Everybody plays on the piano in this hotel which is also without interest. The friendship with the other servant is uncomprehensible, why is she so honest? Is she really her friend? She has nothing to win by being her friend. This movie is full of riddles and at the end you say: "Let this soon be over, please".

It's a totally surreal movie that did remind me of "Delicatessen". Even the peculiar pastel colors are similar. The tale? A new maid starts working at a dilapidated boarding house - a pension - in Paris, in 1913, and she gets involved with a young German artist who lives there. Her relationship with him is the central part of the plot, but the other characters add subplots in their own strange ways. The people who live there are peculiar, the owners are peculiar, the situations are peculiar... but I got caught in it and came to enjoy the faintly claustrophobic atmosphere. Drama, touches of black humor, absurdity, love and betrayal, it's got it all. Not an absolute masterpiece but well worth seeing.