L'homme au crâne rasé (1966)
DVD9 | VIDEO_TS | PAL 16:9 | 01:34:38 | 7,88 Gb
Audio: Dutch 2.0 @ 192 Kbps | Subs: English, French, Dutch
Genre: Drama | 2 wins | Belgium
DVD9 | VIDEO_TS | PAL 16:9 | 01:34:38 | 7,88 Gb
Audio: Dutch 2.0 @ 192 Kbps | Subs: English, French, Dutch
Genre: Drama | 2 wins | Belgium
Received with a combination of bewilderment and outright derision upon its initial release, André Delvaux's first feature film has undergone a critical reevaluation over the years and is now regarded as one of the seminal works of Belgian cinema. Adapted from a novel by Flemish writer Johan Daisne, this is a story about Govert Miereveld (Senne Rouffaer), a lawyer from a small Flemish town who also teaches in a school for girls. He harbors a secret love for one of his young students, Fran (Beata Tyszkiewicz), whom he loses touch with after her graduation. Some time later, Miereveld has to attend an autopsy, and the shock of the experience deeply affects his mental balance. He finds out – or he believes so – that Fran has become a popular singer. He arranges to meet her to finally reveal his feelings. The film is decidedly ambiguous about the tragic denouement that follows, suggesting that it might be a figment of the protagonist's disturbed mind.
IMDB
On French
Forgotten Classic of Yesteryear
Also Known As:
- De Man die zijn haar kort liet knippen
This moving and remarkably original first feature from Delvaux (based on a novel by Johan Daisne) makes his subsequent excursions into 'Vogue' surrealism (Un Soir…un Train, Rendez-vous à Bray) look decidedly redundant. The man who has his hair cut short is Govert Miereveld (Rouffaer), a hopeless schoolteacher who develops a crush on a mature female pupil; the experience unhinges him, and his involuntary attendance at an autopsy is enough to push him right over the edge. Delvaux's main feat is to take his audience into Miereveld's manias without pretending to explain them, but he also manages to maintain an unsentimentally detached view of his character as an outsider, especially through the recurrent use of the Kurt Weill-esque 'Ballad of Real Life' on the soundtrack. The result is a mixture of psychological thriller and noir love story, and it's more than a little wonderful.
A timid school teacher harbours unrequited feelings for a beautiful and talented pupil of his, whom, when she graduates, disappears from his life seemingly forever; but some time later, after years of hollow and empty drifting, she, now a successful singer, wanders back into his life, in Delvaux’s subtle, unsettling, and disquieting examination of obsession, compulsion, and madness.Iain Stott
The theme of escape is very prevalent throughout all facets of this movie. The off-voice narration creates a sort of detachment that reflects the detachment of the character with reality and even with the feelings inside him. Seldom the characters speak while facing the camera and the music is a wonderful accompaniment to the narrative: fairy-like and enchanting or confusing and detached. As the inner feelings and reflections of the characters are the main subject of this movie, it is strongly narrative driven rather than driven by actions and therefor it might not suit every 21st century viewer. But I strongly urge people to allow themselves to follow the reflections and balance on the stream of consciousness of the characters and see where it takes them. Near the end different elements fall into place although it may be a place that not everyone likes or even understands. Strong visuals, strong music, strong acting, but not suitable for a day when you're on the couch struck by the flu.IMDB Reviewer
Special Features:
- Director in Belgium: Interview with Andre Delvaux (25:53)
- Documentary about the film: by the Royal Belgium Cinematheque (36:37)
Many Thanks to arkhane.
No More Mirrors.