“L”A man never resembles himself as when he is in motion,” Bernini told me when he carved a bust of Louis XIV, far from freezing his model, letting the king out of his gestures, allowing him to turn around, to evolve as he pleased like a man of the age. Baroque. For the true archetype of this man of the Golden Age is above all Don Juan, the man with the initial identity, the successive incarnation, a firm model of varied and ever-changing love. But undoubtedly this formula of Bernini soon became the motto of the seventeenthe Century in love with deceptive appearances and fleeting identities, is he himself turned upside down and in his own baroque trap in the elaborate Don Juan By Serge Bozon who just appeared on the screens and who, not to be mistaken, is necessary, yet wonderful top edge And the Mrs. Hyde, as his best movie.
For, without Juan, the seducer, the man running from conquest to conquest, Serge Bozon remains only his ghost, his frustrated ghost, his dark fickleness, as if he were dead to himself. Based on a screenplay he co-wrote with Axel Robert, Don Juan On the basis of the Baroque commitment, on The beauty of surprise : The man here is no longer a womanizer as we know. Brilliantly performed by Tahir Rahim, the man is sober, dressed in full hieratic black attire. He is in town hall. He is waiting for marriage. But Julie the bride (brilliantly played by Virginie Evira) did not come. She is lacking. abandoned him. Bright, the argument, from the start, is given: It would be a way to seduce the #MeToo era, a seducer questioning seduction, who would have finished his strategies. However, after this post #MeToo Don Juan is clearly working on the film, it also appears that Bozon here immediately gives Don Juan to be seen as the antithesis of Don Juan that Tirso de Molina, Molière, and then Mozart could have propagated. Don Juan traitor? Yes, but this time not for women but only for his reputation if not for his legend: unfaithful to himself.
Since then, the film begins with Don Juan wandering, dazed before being deprived of his own dramatic spring, famous for moving from role to role, going from successive incarnations to successive incarnations according to the woman he intended. to seduce. Don Juan de Bozon becomes irrevocably fixed. He no longer has a role. He is inhabited. He missed himself. He’s diving into himself instead of playing the brilliant outside guy. He wanders, as if dead, into a kind of purgatory where, angry, tired and pale, he continues to meet women who, as if reflecting his pain, are the many incarnations of whom he has escaped. Julie isn’t around anymore but it’s this curly-haired woman who mentors top CEOs in the pharmaceutical industry. The next minute, Julie is still gone, but she’s that young lady in the bar. This young lady looks a bit like Corinne Sharpe in the bar, and this teacher too…Julie is never like her like she’s on the move. Jolie is everywhere because, precisely because, she is nowhere … Stuck in her own trap, Don Juanism turns, as the Baroque always likes to do, and the seducer rushes away into a kind of living death that is not without evoking a “quiet hero” Dom Juan in Baudelaire’s underworld after his death, cruising on Sharon’s boat. Thus he, the representative of the temptations of rotation, becomes the still, irremediably spectator of a life he can no longer join.
Because it is precisely life itself that Don Juan de Bozon wants to join. It is from this life, from this living thing that has been separated from him and who intends to reconnect with him. But this living, for the time being, in the bars of hotels, on the terraces of cafes or while talking with his friend Nael (Damien Chapelle, always very attractive), he cannot see. Then, out of this world of glossy and glamorous appearances, making love conquests his epic tale that all Don Juan is recognised, the film turns unexpectedly into a vibrant singing movie. musical comedy ghost but without choreography, opera ghost but without soprano, music ghost with pop chords but with orchestra orchestra, Don Juan It becomes an introspective musical, as it takes Musicals Which give the external character to the characters, the various songs, on the contrary, study the inner man. Then Don Juan goes deep into himself to become a species self translator, A way for the bare truth to sing that makes every song overwhelming: with Boson, who has previously explored singing in France, The song is literally and ironically a way for an actor not to be an actor, not to act, to be in the reality of a moment that acting doesn’t allow: Don Juan does not explain but is interpreted. The song is located off-camera at the heart of the screen. As if the song, introspectively, is given to hear what the camera does not see. As if Don Juan Bozon was at last some kind of Saint Augustine or Montaigne who, in the words of Jacques Duval, sings of his anguish early in the morning in a deserted nightclub, with all the lights out.
However, Laurent has to gather himself. He can’t keep this black hole man crossed by his pain because he has to play, back to put himself in the abyss but without believing in it anymore. Laurent is an actor and a tragic irony in this life that he is now like CutsHe must interpret Dom Joan to Moliere: in fact, at the Grandeville theater, in Normandy, the premiere of the play is approaching. The mise en abyme that would have been hilarious and ridiculous, which would have been his triumph, is in fact his grave here. But suddenly, the improbable, if not very supernatural, happens: Julie, who has abandoned him, returns. She will be, in a disconcerting way, the actress who will give him the answer, the Elvire whom Dom Juan de Molière has unceremoniously abandoned and who will especially earn him the wrath of the Commander’s statue. The Don Juan Then, in a surprising and glamorous way, de Bozon turns into another movie: starts over, resumes, and starts again in the love movie who wants to find love again.
We will not mention here everything that happens there, all that has been woven into this unexpected reunion, but perhaps two salient features appear that can complement the painting of this Baroque Don Juan Buzon, as if it were the culmination of a Baroque feat of which Don Juan is always his master and not Roe Start.
The first feature: if it seems to answer the games of mirrors and reflections where the baroque form of the inverted world forms the film, Don Juan Nevertheless, de Bozon presents, in every moment, a film that is very sensitive and physical. There is even the heart of his baroque if not his complete success in the subtle, undecidable and formidable intersection, between the idea and its embodiment. From Don Juan’s deserted argument, Bozon paints a movie that doesn’t play. A movie in search of life, on the power of life, ends up answering, for Julie’s return, b Vita Nova Where, leaving no role, the character finds himself embodying what he should have played. This relationship between the living and the truth is not tested in death, as in Molière, but in the living themselves, Back to Life. Laurent should have known when the back of the theater was opened to the embankment by the sea where the theater is located. Theater leads to life – cinema too. There is no more trick. We’re no longer here in the Dom Juan that Trintignant portrayed Robbe-Grillet in The man who lies. Don Juan de Bozon does not lie. He’s like James Stewart vertigo : Love can begin again, trembling to believe in its second chance.
The second feature: This search for life, which weaves the rebirth of a crazy love for Jolie, offers what we have never seen before in cinema. Don Juan It presents a method for the invisible cinema, again reflecting the points of view not to play again and again but to find a way to the truth of the sensitive. Because Boson depicts what we don’t see: when love only begins with a look finish. When Julie arrived late at City Hall, she ran, in a wedding dress, and went to enter the building but saw Laurent at the window. He sees it, but he does not see it. The look you should be looking at is looking elsewhere. Staring at a young woman in the street. He looks at her as he looks at Julie. Don Juan didn’t go very far after all. Like all ghosts, he’s back to breakup couple Laurent and Julie. This shot where the gaze stares at the other’s gaze is given as a moment of ultimate truth where, unlike vertigo Where Madeleine and Scotty spin or even backwards Martha From Fassbinder and her 360-degree scene, Boson was not a fascinator but a movie resentment. Thus, the boson here presents to the vortex spectator a silent and final point of confrontation, on the verge of the next collapse. For Bozon understands that inertia, as always in the Baroque, is a kind of dizzying extension of movement – which invites us to leave.
We will understand: it is absolutely necessary to go and watch Don Juan For Serge Bozon, one of the most remarkable films of the year, a masterful reinterpretation of the legend of Don Juan that makes the victorious man the only shadow of himself, and introduces Don Juan so new and intriguing that he can finally resume, in an emotional turmoil, this still baroque verse of an undisturbed Rotro Known: “I wanted without dying to be my killer.”
Don Juan By Serge Bozon (1 hour 40 minutes) with Virginie Evira, Taher Rahim, Alain Chamfort and Damien Chapelle. Screenplay: Serge Bozon and Axel Robert. Technical advisor: Pascal Baudet. It was selected at the Cannes Film Festival for the first time at the Cannes Film Festival. It has been shown in cinemas since May 23, 2022.