Three’s always a better party.
American university student Matthew (Michael Pitt) arrives in Paris during the year 1968, having no clue what to do with himself. However, he loves movies and he’s young at heart, so he ends up going the local theaters, as well as to whatever protests the young kids are holding around there. That’s where Matthew runs into the wild and blissful Theo (Louis Garrel) and Isabelle (Eva Green), twins that do everything together (and I do mean everything). Being that they’re all the same age and have the same interests in music, food and movies, they both take a liking to Matthew and invite him over for a dinner that goes sour. However, Matt stays the night over and the next day, finds out that both Theo and Isabelle’s parents are gone, leaving the house all to themselves where they can do whatever the hell it is they want. Predictably, this leads to a lot rough-housing and misbehaving, but things get a bit serious once Matthew loses a game of “Guess Which Movie” and is forced to have sex with Isabelle; something he obviously wants to do, but not in front of her brother, and definitely not nearly as soon either. But he does, and that’s when things get a bit tense between the three.
You have to hand it to Bernardo Bertolucci, the dude sure does love his sex. But also, he sure does love movies. And in a smart way, he’s able to combine them both here into one story that’s a love-triangle of sorts; one that’s an ode to movies as a whole; and another that has something to say about the changing of times during this French New Wave period. To be honest, though his intentions are noble, Bertolucci’s combination doesn’t always work and you sometimes have to wonder how much of this movie-talk actually pertains to the story itself, but there’s something neat that he does with this film.
“Yeah, I think that’s exactly where the cold sore is.”
See, a lot has been made about it’s NC-17 rating and to be honest, it’s quite deserved. The sex itself isn’t too graphic to where it’s practically a hardcore porno, but it’s all the nudity that gets the rating. For a good portion of this movie, these characters are naked and just absolutely flaunting whatever they’ve got, while they’re dancing, talking about movies, smoking a joint, drinking wine, listening to music, or just doing whatever the hell it is that they want to do. Why is that? Well, it’s because they’re young and it’s the dawn of the French sexual age in which practically everybody banged everybody, they all had a fun time doing so, and nobody cared either way.
And while for most movies, that aspect would seem forced, as if the creator behind it was just trying to shock you by featuring numerous shots of pubic hair and penises, not here. Bertolucci loves what it is that he has on display here, whether it be the characters, the movie’s they’re referencing and sometimes acting out, or just whatever political ideals they express to one another. Sometimes it can be a bit pretentious, but I was able to give it a slide because that’s just who these characters were: Young, full of ideas, always wanting to have a good time, and not waste a single second of their lives.
To me, it was fun to watch. Not because I got to see Eva Green naked on numerous occasions (although that was definitely something of a plus), but because these kids were fun to be around. Even though they felt like they were deeper than they really were, there was something rather endearing about the way they handled themselves regardless of what it was they were doing. Sure, they could be lying naked on the ground, or all huddled together in the tub or something, but it never seemed to bore me. Maybe it was because their constant-references of classic films gave the film-buff inside of me an extra, energized boost, or maybe it was because I was just enjoying hanging around these kids, as if they were my own friends I’d be around (presumably with clothes off, of course).
But either way, they were just characters I liked to watch and listen to. It didn’t matter if they were up their own asses on whatever they thought was “right” or “wrong” for the world, it was more that they had ideas about the world in general and were willing to express them with such passion and frivolity. They weren’t going to back down from any argument, even if they seem destined to lose it and because I too was once in their shoes (still am, sort of), I couldn’t help but smile. They’re not dumb, but they’re not smart either; they’re just young people, man.
And believe it or not, they’re the future. So don’t piss them off, pops!
Speaking of these kids, all three are great. Previously mentioned Green gets to do a whole lot with her female screen-presence, which is more than just being naked and it’s something of a sight to see, because she commands the screen with everything she’s got. Her character isn’t an easy one to pin down and when you start to see that there’s more to the mystery that surrounds her, you start to feel for this character as, at the end of the day, she’s just a woman looking for a love in her life. And although that love in her life may be her jealousy-ridden brother, Louis Garrel still brings out enough in this Theo character to make it seem like he’s a genuinely nice guy; he’s just very passionate about what it is that he believes. Pretty much like most young people really.
Slightly less awkward than the conversations I’ve had with the older bro’s of the gals I’ve bedded. Only slightly.
But the one who really does something with his character and almost walks away with this movie is Michael Pitt as Matthew. Pitt’s great here because he goes from awkward and shy, to being an absolute lovely, spirited presence that soaks up in the moment and actually has a thing or two on his mind that he’d like to get. In fact, by the end, he ends up being the voice of reason and had this movie gone deeper into that aspect, I feel like we could have really gotten a stronger character here. Even more importantly, maybe even a stronger movie.
Because like what I was blabbering on about earlier, not all of this film works; specifically, what point it is that Bertolucci is trying to get across through these characters, their ideas, their speeches and most importantly, what’s happening all around them. What he tries to do is that I think he tries to get a point across about why it’s important that these kids stick up for what they believe in and how they should go about doing so, whether it be through a peaceful or non-peaceful protest, and while it’s nice to see him shed some light on these ideas, they never seem to go anywhere. And even when they do, it’s almost too late in the movie to where it feels shoe-horned in there to give it a bigger sense of meaning.
You know, more meaning than just a bunch of kids being naked and having steamy, hot sex. Which is fine and all, because the scenes are lit perfectly and give you the sense that they are literally loving it in the moment, but when it tries to be something more than just that, it sort of stumbles. Maybe had Bertolucci just made this an even smaller, more intimate character-study of these three characters, we probably would have had a tighter, better with a more lasting impact. But sadly, we don’t.
We just have a whole lot of shots of Michael Pitt’s penis and Eva Green’s bum. So you can’t say that there isn’t something for everyone.
Consensus: While it would like to be deeper than it really is, the Dreamers still works in giving us three wonderful performances from the main cast, as well as presenting a story that touches on more than just a whole lot of sex.
8 / 10 = Matinee!!
Eat your heart out, Gen-X-ers.
Photo’s Credit to: Goggle Images