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How entertaining? ★★★★☆
Thought provoking? ★★☆☆☆ 30 September 2012
This a movie review of RUST AND BONE. |
“We continue, but not like animals,” Stéphanie
From the perspective of the bottom of a ginormous water tank, a killer whale lands on top of us in slow-motion. Then a few beats, and wreckage of a platform follows. Finally a body hits the water. Spectacular. Jaw-dropping. Jacques Audiard is one of the top directors in the world working today. He hadn’t put a foot wrong with his five previous films. I have real affection in particular for READ MY LIPS and THE BEAT THAT MY HEART SKIPPED. His most famous work is A PROPHET. For the first time, he steps away from his interest in how essentially decent people relate to crime, and goes for a full-on love story. My initial reaction after watching RUST AND BONE was that he had created a messy film of uneven tone; but having allowed it to sit in my imagination, I have softened, and it is growing in esteem.
From the perspective of the bottom of a ginormous water tank, a killer whale lands on top of us in slow-motion. Then a few beats, and wreckage of a platform follows. Finally a body hits the water. Spectacular. Jaw-dropping. Jacques Audiard is one of the top directors in the world working today. He hadn’t put a foot wrong with his five previous films. I have real affection in particular for READ MY LIPS and THE BEAT THAT MY HEART SKIPPED. His most famous work is A PROPHET. For the first time, he steps away from his interest in how essentially decent people relate to crime, and goes for a full-on love story. My initial reaction after watching RUST AND BONE was that he had created a messy film of uneven tone; but having allowed it to sit in my imagination, I have softened, and it is growing in esteem.
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We get hints of Stéphanie (the absolutely mesmerising Marion Cotillard) and Alain (Matthias Schoenaerts) before they meet. Human in their fallibilities. We can only suppose their backgrounds. Their first encounter is at a nightclub. Alain is a bouncer and protects her from being beaten up. It appears that Stéphanie’s relationship with men is not particularly healthy, though her professional life is exciting and fulfilling. Alain has rescued his young son away from the mother, who is involved in drugs; though he has underestimated the effort of responsibility. At Alain’s sister’s he is able to have a base for the child, and try to get on his feet financially. The ensuing compelling character dynamics are one of the reasons why Audiard is at the top his game. The other is that he directs with muscle and slickness without drawing attention to the way he is doing that.
A horrific accident is the catalyst for the two coming together again and slow-burn relationship. They both ooze physical magnetism. His power as a bare-knuckle kick-boxer is contrasted with her fragility and charisma. The narrative goes off in all sorts of directions. As the credits rolled I was unsure the choices made were satisfying ones; a few months on I’m far more at ease, remembering moments which build to an enjoyable whole. For a film that seems to be about tragedy providing clarity and focus, the ending may be a bit trite, but it encourages another watch to see if the denouement is deserved.
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