Assays's mise en scene is smart. His camera celebrates the warmth, the lush and somewhat worn beauty of the house in the final summer that it is filled with its contents and people. After the death of Helene, he and his cameras walk through as the art and furniture are appraised for their value, now the house possesses the same contents, but the light is cooler, grayer. Epicures eye the Corot and the Hoffmann armoire over their expensive glasses. The stoves must be lit for warmth. The long-time caretaker of the house peers in the windows of her old home. In the film's closing scenes, we see the house's contents lodged in the Musee D'Orsay as a tour guide lectures her group on the history of desk we have come to associate with Helene's home. It is summer again. The nearly abandoned house is filled with Helen's grandchildren who party in its now raw, unfurnished rooms and its unkempt garden, blasting french rap and getting stoned. The place is obsolete - or is it? Assayas is smart enough not to decide for us. Time marches on but French law allows one to donate art to museums in exchange for a break on inheritance tax. The art may no longer reside in the home of the family whose ancestors acquired it, however one could say that many more members of future generations get to enjoy it. Is the vase by a great sculptor most valuable as a highly protected and revered possession of a museum or as the container of flowers in a home where it might at any moment be knocked to the floor by children playing? These are the questions one is left turning softly over in one's mind as the film ends. I learned on the DVD extras that to celebrate its 20th anniversary, the Musee D'Orsay, rather than making a straight, PBS-style documentary about their collection, commissioned films by real filmmakers to celebrate their birthday. Summer Hours, Assayas's contribution, is a thoughtful, tender, and quiet gem.
Saturday, September 11, 2010
Is art precious for its beauty, its value, or its usefulness? (Film - Summer Hours by Olivier Assayas)
Assays's mise en scene is smart. His camera celebrates the warmth, the lush and somewhat worn beauty of the house in the final summer that it is filled with its contents and people. After the death of Helene, he and his cameras walk through as the art and furniture are appraised for their value, now the house possesses the same contents, but the light is cooler, grayer. Epicures eye the Corot and the Hoffmann armoire over their expensive glasses. The stoves must be lit for warmth. The long-time caretaker of the house peers in the windows of her old home. In the film's closing scenes, we see the house's contents lodged in the Musee D'Orsay as a tour guide lectures her group on the history of desk we have come to associate with Helene's home. It is summer again. The nearly abandoned house is filled with Helen's grandchildren who party in its now raw, unfurnished rooms and its unkempt garden, blasting french rap and getting stoned. The place is obsolete - or is it? Assayas is smart enough not to decide for us. Time marches on but French law allows one to donate art to museums in exchange for a break on inheritance tax. The art may no longer reside in the home of the family whose ancestors acquired it, however one could say that many more members of future generations get to enjoy it. Is the vase by a great sculptor most valuable as a highly protected and revered possession of a museum or as the container of flowers in a home where it might at any moment be knocked to the floor by children playing? These are the questions one is left turning softly over in one's mind as the film ends. I learned on the DVD extras that to celebrate its 20th anniversary, the Musee D'Orsay, rather than making a straight, PBS-style documentary about their collection, commissioned films by real filmmakers to celebrate their birthday. Summer Hours, Assayas's contribution, is a thoughtful, tender, and quiet gem.
Labels:
Acting,
art,
film,
french film
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7 comments:
I have been dying to see this. Many critics named it as the best film of the year. Thanks for your thoughts!
I love what you say about the camera catching people being people, and how hard that really is.
Speaking of Juliette Binoche: I want you to see Shirin. You may hate it, but so far I have found no one else who has seen it, and I want to discuss it!!! So much to talk about - I reviewed it here:
http://www.sheilaomalley.com/?p=26991
It's all about storytelling and being an audience member. It can be a bit tedious, but it is also fascinating. Anyway, would love to discuss with you and hear your take on it.
I can't wait to see Shirin now. I've requested it from the NY Library! I think you would appreciate what Summer Hours does because it's real art but it's not stuffy and the people know how to live in it!
I didn't know this film was commisioned. I saw it when it came out, and as always I'm interested in what came up/stayed in mind mind with your reading -
-the couple walking through the museum at the end of the film.
-the girl leading the boy through the grounds of the house
-the maid leaving with her son, and didn't she take a ridiculously expensive vase not knowing it was?
-Juliette Binoche arguing with her siblings
It's a tribute that I remember the people and the activity more the objects and the house - it's a beautiful film.
CritCl - You obviously have strong memories of the images. It is indeed a beautiful and resonant film and that knowledge of the process only added to my appreciation of it.
I agree with your thoughts so much. I really enjoyed this bittersweet movie about change and time and the meaning of inheritance. Great write up.
Thanks, Marie, and Happy New Year!
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