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Title: Time
Regained |
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Release Date: 2000 |
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Nationality and Language: France |
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Running time: about 160 Minutes |
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Distributor and Production Company: Kino International (Germany) |
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Director; Writer:Raoul Ruiz, Pabloc Branco |
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Producer: |
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Cast: Marcello Mazzarella (as the narrator and as Marcel Proust), John Malkovich (as Charlus), Vincent Perez (as Morel), Andre Engel (as Marcel), Catherine Denevue (as Odette), |
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Technical: 1.6. to 1; Dolby |
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Relevance to HPPUB site: |
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Review: (2000) (“Le Temps Retrouve′”),
a film by Raoul Ruiz and Pablo Branco,
starring Marcello Mazzarella (as the narrator and
as Marcel Proust), John Malkovich
(as Charlus), Vincent Perez (as Morel), Andre Engel
(as Marcel), Catherine Denevue (as Odette), 160
Minutes, from Kino International, not rated but probably a soft “R.” This film purports to be a historical epic
from the point of view of a famous writer, that is, Marcel Proust, so it may be a bit like a “Do Ask Do Tell” film,
but it seems a bit focused on what comes across as a rather confined, almost unifocal life in the upper classes of French society
through the end of World War I. His episodic story is narrated from his
deathbed (you might say, dictated, as this occurs well before the days of
word processors), a device that would give the film a self-indulgent quality
if not reversed by some unusual social or political message underneath. Furthermore, the film moves back and forth
in time with fade-ins, which gives Proust’s life a
kind of privileged, monolithic appearance, rather than one which responded to
the tumultuous European history around him.
The main concerns seem to be sexual and romantic obsession and
fidelity, and perhaps the gradations of romance in situations where it does
not require overt sexual fulfillment—and, of course, a frank
bisexuality. There is one episode in a
rooming house where soldiers bunk during bombing raids and engage in some gay
sadomasochism—an apparent commentary that homosexuality is common (and
inevitable) in militaries throughout history, but hardly surprising when
compared to today’s controversy over the issue in the United States. There is
also some subtle dialogue about Proust’s concerns
over whether his understated homosexual interests were acceptable to others.
The subtitles do not translate very literally, and fluency in French (as well
as detailed knowledge of European history) may help the viewer get more out
of the film. Indeed, I saw this film with a largely academic audience at a
University of Minnesota film series. The set
designs for the film are quite marvelous, and the photography garish and
detailed, in a manner that recalls the old VistaVision
process. But I really wanted to see more of the history—even more of the
black-and-white World War I news clips (and kaleidoscopes). Life could be fulfilling for the “rich” in
those days with older technology—you didn’t need a stand-up video bar if you
had live pianists and string quartets.
The background music is rather intriguing, conveying a sense of
mystery with impressionism (I believe there were quotes from Debussy’s Images,
Jeux, and Ravel’s
violin sonata, but I’ll have to check this in my own CD collection
later). It makes an interesting comparison
to Maurice Jarre’s more extroverted score for Sunshine,
with its unabashed deference to Viennese romanticism. |
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Related reviews: Sunshine |
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