All would have been fine, had there been a lifeguard on duty.
British mystery writer Sarah Morton (Charlotte Rampling) has hit a creative blockade where she doesn’t know what the hell to do with her next novel, and as a result, finds her life spinning out of control. That’s why when her publisher (Charles Dance) decides to let her use his French country house for solitude and inspiration, she jumps on the opportunity right away. And it’s great for her as soon as she gets there: She’s settled in, relaxed, drinking, eating, flirting with local waiters, and best of all, writing pages for her next big novel. Whatever that novel may be about, is a total mystery and that’s how she intends to keep it. So when her publisher’s daughter, the young and vibrant Julie (Ludivine Sagnier), crashes the house and decides to hang around, Sarah’s left befuddled; she’s upset that Julie is around and ruining her peace and quiet, but she still can’t kick her out because, technically, it’s her house. So basically, Sarah just decides to stick with it and be as peaceful as she can be sharing the same house with Julie, as hard as that may be. Somehow too, she also finds inspiration for writing through Sarah’s life, which has a strange way of sometimes spilling out from the page, into their real-lives.
Plenty has been made about Swimming Pool, which is all due to the twist ending. I knew this going in and needless to say, I don’t understand what all of the fuss is about. I get that it’s a vague, ambiguous ending that pulls the rug from underneath us, just as soon as we think we’re all fine, dandy and safe, but then again, so is the whole movie.
Looks like the only women I take home from the bars. Except less attractive and less French. Actually, just less of everything.
Co-writer and director Francois Ozon wants us to believe that everything we’re seeing is straight-forward, natural and actually happening in real life; however, what we don’t know is that he’s sometimes playing a trick on us. However, sometimes, he isn’t. That’s the beauty of Ozon’s direction and I like how it’s never a clear-cut solution to whatever our questions may be while watching this. Is everything we’re seeing real? Or, is it just a bunch of fantasy-sequences tied together through a story of an old lady wanting to get a new book for her publisher?
Honestly, we may never, ever know the truth. But there’s some fun in that, isn’t there?
Anyway, all that shish-gab-bob aside, the movie itself is a fine thriller, with and without all of the twists and turns. See, because Ozon’s direction is a tricky one to say the least, we’re constantly left wondering what’s happening, and whether or not it’s actually real. For awhile, that’s fun to play around with, all until it becomes a gimmick that Ozon himself latches onto a bit much. But, as soon as it seems like he’s just constantly beating a dead horse, Ozon does something neat in that he makes this more of a character-study of our main “protagonist”, Sarah Morton.
See, what’s cool about Sarah Morton is that we get to see an old, crabby woman who clearly doesn’t like talking to others, nor being disturbed. But by the same token, she wants to feel appreciated, loved and beheld. This is clearly evident early on when we are introduced to her character by a fan saying that she not only recognizes Morton, but even asks her a question about the novel itself. Morton, as shrewd as she can possibly be, denies being that writer the fan knows she is and just leaves the conversation. Moments later, she shows up to her publisher’s office, and seems like she totally needs a hug, as well as some comfort from the rest of the world.
So, there’s two ways of going about it with this character: Either she’s a total stuck-up, snobby, old witch? Or, she’s just an old lady that doesn’t have much going for her life, is pissed that she can’t write her next “masterpiece”, and is at a bit of a crossroads, per se?
What Ozon does is that he shows her off as both sides, and through this vacation-away at this French country house, we get to see certain layers of Morton in ways that I didn’t expect. Most of that has to do with the way this character is written, but most of it also has to do with the way in which Charlotte Rampling plays her. In case you don’t know by now, Rampling’s a great actress; she has that resting bitch-face going for her, yet, when she branches out and wants to have fun, you can’t help but smile and feel happy for her. That’s why when I knew Rampling was in this movie, playing Sarah Morton, I thought it was a perfect bit of casting.
However, as the story develops, and there’s more shading done to Morton, we realize that there’s more to Morton than just an old lady who can’t have fun, or have a peaceful conversation with anyone around her. She’s just an old lady who wants peace, quiet and relaxation, and when she does in fact get that, she’s as happy as she possibly can be. So through Morton, we not only get an interesting portrait of a trouble, somewhat unlikable character, but we get to see a female character, in the lead role that’s never really judged in any way. Which, considering some of the choices Morton makes throughout this movie, is saying a whole lot and is really accredited to Ozon’s direction and how he just lets the story play out, without trying too hard for much of anything.
“She’s right behind me isn’t she? Sheeeit.”
And that’s not to say that Rampling just completely owns this movie the only way she knows how to do, because Ludivine Sagnier is also very good as Julie. For some, it may help that she’s practically nude for the whole movie, but for other, less-perverted viewers, Sagnier does something well in the way that she’s able to give us the simple cliche of the young, brash, sexually-energized, and troubled-girl that we see so often, and allow her to branch out more as a girl who can take care of herself on more than a few occasions.
In a way too, as much as this may be a mystery-thriller, it’s also a bit of a psychological-thriller because of the mind games these two play on one another. Sure, Rampling and Sagnier work well together, despite their clear differences, but what makes them so interesting to watch, is that their characters have both appreciation, as well as resentment for one another. Morton is an old, somewhat miserable lady that seems like she never likes fun; whereas Julie can’t help but have fun all of the time, even if that means being constantly naked and banging any guy that takes one look at her body in a sexual-way. The two clash heads on more than a couple occasions, but it’s never over-played to where you see the strings – it’s all hinted at, and as a result, it’s something to think about and chew on for quite awhile.
Even if that ending may still piss some of you off.
Consensus: Though it’s disguised a thriller full of all sorts of twists and turns, Swimming Pool is also a fascinating thriller, pitting two completely different characters against one another in a way that some won’t expect to see happen, nor end the way it does, as ambiguous as it may be.
8 / 10 = Matinee!!
Old vs. new. Who ya got?
Photo’s Credit to: Thecia.Com.Au