The Last Day (2004)

Young writer-director Rodolphe Marconi introduces us to 18 year-old Simon (the extremely handsome and talented Gaspard Ulliel, "A Very Long Engagement"), who brings a girl he just met on a train, Louise (Mélanie Laurent), along with him to visit his parents and sister for a holiday in the country. As the mysterious Mathieu (Thibault Vinçon), Simon's unrequited love, reappears, Louise and Mathieu develop a liaison of their own, and we contemplate Simon's morbid sadness as dark secrets are uncovered."The Last Day" is a very personal, slow-paced, sensual and tragic story. It's very French in its aesthetics (which I love) and mood, and Marconi owes great part of his film's power to the amazing talent of Ulliel, who says more with a single look than most of today's young actors with a thousand words. In spite of his first bad move in Hollywood with "Hannibal Rising", I believe Ulliel is destined to become an international star (and if he doesn't, that's also fine, as long as he keeps picking daring roles in great films in his homeland). The soundtrack is also eclectic and memorable, and Marconi even reserves "the improvised, sudden musical scene" that's a trademark of some contemporary French directors, like François Ozon and Christophe Honoré. It could seem out of place and even ridiculous, but works beautifully here. Not a film for everybody, and ultimately depressing; but a memorable, poignant experience nonetheless. 9/10.

Another nice little recent film from France that lacked the wattage to get into American theaters. People will look at it now, because lead actor Gaspard Ulliel's strong presence and savage faun look have made him a star. He has shone in such films as Téchiné's Égarés (Strayed) and the upcoming Hannibal Rising that exploit his wild look, his animalistic air of danger. He is frequently seen as frightening and independent. He is sweet as the boyfriend in A Very Long Engagement, though. The Last Day shows him off better as an actor because here he is almost always on screen, but is allowed to be hesitant, mysterious -- the essence of a film that holds back its meanings and makes us guess what's going on. Simon is delicate, thoughtful and kind, a manchild and a slightly maladroit creature who detaches by filming and photographing the world. In playing Simon, Ulliel reveals admirable restraint. He shows how an actor must use he physical equipment. His looks are striking, but what counts is that he can do such different things with them.Simon (Ulliel) is a young arts student. On the night train to his family's Christmas party he picks up a girl who comes along and then quickly takes up with someone who seems to be Simon's former flame. Simon sleeps with (along side) her, but can't have her. And he's been left out of the know because despite being all of 18 he still isn't aware of something important about himself. Rodolphe Marconi's film is nicely understated, never dwelling on a scene too long, stingy with dialogue and scornful of flashy effects. Ulliel's delicacy is essential to these qualities. So is something inaccessible about him that helps keep his somewhat pathetic situation from ever seeming sentimental. Mélanie Laurent as the girl and Christophe Malavoy as the head of the household help round out an impeccable cast.The Last Day is full of a dry French tact, and escapes being dreary (if only just) by the characters' composure and fortitude. Simon is an athlete (swimming, tennis), but also a good sport in everything--and despite his breathtaking ease in the pool, he has a jerky little walk. What good manners he has! He is always there in deep close-ups, bashful and quiet. Yet we feel his hurt all the more deeply because it isn't acted out. Bruno Todeschini simmers. Nicole Garcia is like a more ravaged Rampling. There's nothing not to like except the ditsy pop songs with English lyrics. Fortunately at a crucial late scene an elegant John Lewis piano solo takes over.

The movie starts a little maudlin. Homeward bound for his family holiday, he meets a young woman on a train. He brings her home with him, and the family assume they are a couple and have been. He introduces her to a past friend, with undertones that it was a previous unrequited love interest. As she moves away from him towards a relationship with that friend, loneliness sets in. It brought back feelings of loneliness and emptiness, combined with anger and jealousy I felt at those ages (having been in the same scenario coming of age). To say it's better to have loved and lost has no bearing in this story. To see someone come of age with a story as this one rarely has a good outcome; I survived, many do not. The story takes a real almost unrealized twist toward the end, all I will say is pay attention to names and time-lines. I know my past was not the norm and hopefully most people seeing this movie, would be viewing it as the abstract life of another. No one should live through that pain and emptiness. I cried for an hour after the film was over.

A wonderfully atmospheric French film, THE LAST DAY details a Christmas holiday with the family of an art student, and the beautiful young woman he encounters on a train, during which lives unravel terribly. Writer/director Rudolphe Marconi is adept at slowly piecing together the story without undue dialog or exposition. His cinematographer, editor and production designer have all contributed to his vision of a beach-side home and environs with a cold, blue palette that will have you wrapping your sweater more tightly. Gaspard Ulliel ("Strayed," "A Very Long Engagement") is compelling as the lead, and the film offers the wonderful Nicole Garcia ("Alias Betty") another strong role in which to shine. A family mystery of sorts, some of the clues may be dropped too soon (we figured things out well in advance), yet due to the fine acting, atmosphere and characterization, the film still pulled us along and left us jolted, moved and chastened. Secrets this important should never be withheld from those you claim to love.