A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Showing posts with label Jean-Jacques Beineix. Show all posts
Showing posts with label Jean-Jacques Beineix. Show all posts

Friday, July 31, 2026

Betty Blue (Jean-Jacques Beineix, 1986)

Jean-Hugues Anglade and Béatrice Dalle in Betty Blue

CastJean-Hugues Anglade, Béatrice Dalle, Gérard Darmon, Consuelo De Haviland, Clémentine Célarié, Jacques Mathou. Screenplay: Jean-Jacques Beineix, based on a novel by Philippe Dijian. Cinematography: Jean-François Robin. Production design: Carlos Conti. Film editing: Monique Prim, Pablo Ferro. Music: Gabriel Yared. 

Jean-Jacques Beineix's "director's cut" of Betty Blue is three hours long, more than an hour longer than its theatrical release, padding out its story of the relationship of a man and an unstable woman to epic length. I have to admit that it didn't feel that long, partly because its whiplash changes in tone and its constant introduction of new, oddball characters kept me wondering what might happen next. Some credit, too, must go to the actors who play its protagonists, the hapless Zorg (Jean-Hughes Anglade) and the unpredictable Betty (Béatrice Dalle), whose undeniable chemistry holds the whole thing together. It's often quite beautiful: Jean-François Robin's cinematography makes the most of its various French settings, and the frequently naked Anglade and Dalle are pleasant to see. But is it anything more than an overextended tale of an ill-fated couple, laced with soft-core porn? Is there a point in its switches from comedy to pain? Unfortunately, Beineix doesn't give us enough substance to make me feel that answering those questions is worth the effort.