La femme du Vème

A phenomenally ambitious, mostly successful film that (almost) atones for the cardinal sin that was Woody Allen's Midnight in Paris. It says so much about cinema audiences that Midnight in Paris was so popular. Here's a film that is startlingly beautiful, utterly intriguing and perfectly cast, and with a drop dead gorgeous soundtrack. The result? A lot of very angry people because... it didn't make sense. No-one mentions that the "Midnight" script had holes you could drive a truck through, because they had a good time. Wake up, people! You're getting the cinema you deserve and it ain't pretty. Or maybe it is. How about Mark Wahlberg and a teddy bear? There you go. That works. Don't blame Hollywood (where I live and work). You're voting with your wallets. Films like The Woman in the Fifth that need intellectual and emotional input from its audience are being stoned to death. The world's becoming a Disney theme park and you're all accessories after the fact. If you think that the word "consumer" is an insult, there's still hope. Take a moment. Watch this film. It isn't perfect. The balance between physical and metaphysical is off and therein lies the confusion. Kieslowski (another obvious comparison) would have handled it better but he wasn't hampered by a literary source when he made La Double Vie. But... it's fKKKing gorgeous. Difficult, challenging, flawed? Yes, but I'll take it over the processed pap that is the American mainstream anytime.

The Woman in the Fifth (2011)

Well, the reason this movie gets some pretty awful reviews is the utter confusion of the plot. And yet it's a deliberate confusion--which is no excuse. It just means this isn't quite bad filmmaking, but a bad decision or two taken too far.

You see, the main character, played with ease and almost familiarity by Ethan Hawke, is mentally unstable. He seems to have two distinct realities, and these are easily confused by the viewer. And in one of these realities he does terrible things, though it isn't clear because we see those terrible things as innocently as he does (which is to say, not at all, it seems).

The character, Tom Ricks, is an American in Paris, a writer ostensibly in town to find and visit his daughter. But the mother's reaction to his showing up at their house is the first clue that something is wrong. This seemingly smart and very nice fellow scares her to call to the police. We see Ricks run to save himself from arrest but we don't quite know if he's to blame or if the mother is just overreacting.

The fact is the confusions in the movie are overwhelming. Maybe there was a better logic somewhere that an editor, under pressure from a producer or distributor, made much out of. Or maybe it was an artful decision to leave us bewildered, to spend time and emotional energy gathering the pieces and clues. The director, Pawel Pawlikowski, has something of a success or two behind him and so might have pretensions that got the better of things here.

In a way, the movie is better than it's overall impression by the end. There are numerous scenes that show a modern Paris very far removed--and much more revealing--than the glorified city seen in both mainstream French movies and American love letters like Woody Allen's recent time-travel. And the acting is overall restrained and convincing. In its bones, this is a substantial movie. Most of all, the cinematography is superb, some of the best creative stuff I've seen recently, dependent not on creative editing but on smart visual seeing--framing, kinetics, focus, and so on. I think you could watch it on many levels with great pleasure if you knew ahead of time the overall meaning and plot were going to be a mess.

Without forewarning, I'm guessing it leaves mostly frustration and bitterness.

"The Woman in the Fifth" throws us into the middle of the story. Seemingly a perfect way to start, a back-story is implied begging to be told, and future events destined to unfold to eventually come together in an interesting climax and dénouement. But the back-story never was revealed and the plot elements are indiscernible to the average eye.

Tom (Ethan Hawke) is an American writer moving to Paris. His first novel was a moderate success and he is most likely suffering from various creative blocks, probably not helped by the fact that his ex-wife has a restraining order against him, prohibiting him from seeing his daughter.

At this point, we are driven into a world of crime – not surprising for a thriller, but we don't know what crimes yet. Broke and alone, Tom makes a deal with a shady "businessman", develops an affair with a mysterious worldly woman (Kristin Scott Thomas) and then develops an affair with a sweetly mysterious waitress (Joanna Kulig).

For the few crimes that we do know were committed, it's awfully hard to understand why or by whom. The reality of the film and the imagination (or fantasy) element of the film are most likely impossible to separate. Almost all viewers have come up with different explanations, if they came up with any.

It can be interesting watching a jarring film and deduce whatever explanation you like. It can also be disappointing if you don't come up with any explanation that you like. I'm afraid I fall into the latter group.

That being said, it's nice seeing Ethan Hawke in a lead role in an indie. And speaking French no less (not perfectly, but it fits the role)! The imagery and cinematography chosen for this film were interesting and walked the thin line between thriller and horror, helped along with a slightly off-beat score. "The Woman in the Fifth" is off- beat, if it's anything at all.

The American professor of literature and novelist Tom Hicks (Ethan Hawke) travels to Paris to see his beloved daughter Chloé (Julie Papillon) that lives with her mother Nathalie (Delphine Chuillot). However, Nathalie uses the restraining order to call the police and avoid letting Tom to meet Chloé.

Tom flees from the police and takes a bus but he is tired and sleeps. When he awakes in a poor neighborhood, he finds that his luggage and money were robbed. He goes to a bar and the Polish waitress Ania (Joanna Kulig) brings a coffee for him. He asks for a room and explains that he had been robbed and she asks him to talk with the owner Sezer (Samir Guesmi) that allows him to stay in a very low budget room and pay him later. Then Sezer offers a job of night watchman in a suspect building.

One day, Tom goes to a bookstore and is invited to a party with writers where he meets Margit Kadar (Kristin Scott Thomas), who is a translator and widow of a Hungarian writer. She gives her address and telephone to Tom. Soon Tom has a love affair with Margit at her apartment and with Ania on the roof of the bar. But Tom is also obsessed by his daughter, snooping around Chloé during the days. When his next door neighbor at the hotel that is blackmailing Tom is found dead, his only alibi is Margit. But when the police officers go to her place, they discover that she had committed suicide many years ago.

"La femme du Vème" is one of those movies like "Triangle" where there is no explanation for bizarre and surrealistic situations. I am not sure whether the director Pawel Pawlikowski had this intention or not, but forget any explanation about the plot and simply enjoy (or not) the movie.

David Lynch is the master of this style while Claude Chabrol was the French master of thrillers with open endings to make the viewer think and discuss possibilities. But this is the practically unknown Pawel Pawlikowski and I was disappointed with the lack of conclusion of the good plot. But as an unconditional fan of Kristin Scott Thomas and Ethan Hawke, I do not regret this strange experience. My vote is five.

Title (Brazil): "Estranha Obsessão" ("Weird Obsession")

Despite the promise of a collaboration between Pawel Pawlikowski, Ethan Hawke, Joanna Kulig, and Kristin Scott Thomas set in Paris, this film fizzles into a frustrating, rather dreary mess. In a nutshell, an American writer (Hawke) shows up at his ex-wife's apartment, hoping to see their daughter. She calls the police on him and he flees, and after being robbed on a train, he ends up in a seedy hotel. He takes a shady job to pay for his room, and gets involved with a couple of women, one of whom was the muse for a Hungarian author (Scott Thomas), and another who works at the hotel (Kulig). Things go south when a man trying to blackmail him turns up dead, and the muse (who is also his alibi for the evening in question) turns out to be imaginary.

The meaning to the film is probably along the lines of an artist struggling with his own sanity, and having to make difficult choices between creative output and family, all while living in impoverished conditions. He tries to write beautiful, touching work but he's doing so in the dingiest of places, the struggle of which has been felt by a large number of artists since time began. While Kulig and Scott Thomas felt rather wasted in their parts, Hawke shows his range here and has several fine moments, which were the highlights of the film.

Where it falls down is in the narrative, which is too vague and open-ended. I disliked the muse reveal, and thought the murder was an odd bit of drama, things that sent the story over the rails for me. I wondered about what had led to the restraining order which was alluded to early on, and wished that the film had focused more on the dynamic with his ex-wife and child, as opposed to the other women in Paris. How much of this is in the imagination of the author is subject to interpretation and that's kind of interesting, but ultimately it just doesn't come together.