For once in a movie, a free-spirited girl is presented credibly and even as largely likable (and not just as a concept). This is 20-something Venus (Veroushka Knoge), a French-speaking Russian who pals around with French lass Fleur (Isabelle Pires), a rather shy and reserved person. Emmanuel Mouret‘s Venus et Fleur (2004) is a breezy, sexy romance in which the two friends search for a boyfriend and are none too fastidious. What also makes the film commendable is its subtle unpredictability.

For the most part, life is good in Venus et Fleur—the ending is slightly rueful, though—in the sphere of French Prosperity. Mouret has learned from Rohmer and Truffaut, his movie having a look both unadorned and beautiful. It lasts only an hour and 15 minutes. And I will say again that it’s sexy, casually so. Knoge is as cute as a button.

(In French with English subtitles)

The very fine An Unmarried Woman (1978), by Paul Mazursky, has aged quite well and makes a 21st century film about marriage such as Blue Valentine look lousy by comparison.

This is the one about Erica (Jill Clayburgh), a smart New Yorker who becomes “unmarried” via her husband leaving her for a younger woman.  It hits Erica hard, but the film slowly underscores there is still living—and changing—to be done.  And, frankly, it suggests there is much to be said for bourgeois living even when marital betrayal has occurred.  Still, I agree with John Simon that the second-hour chunk of the movie that features the Alan Bates character is “too precipitately idyllic by half.”

Jill Clayburgh is all T-shirt, legs and breasts in Woman.  (Well, not all the time.)  Moreover she understands Erica, and her acting is deep and exploratory.  Mazursky understands her too:  He wrote as well as filmed the mildly ambitious screenplay.

The movie co-stars not only Bates but also Michael Murphy and Lisa Lucas—all good.

An Unmarried Woman (Photo credit: Wikipedia)

Thornton Wilder, along with Frank Craven and Harry Chandlee, worked on the script for Our Town (1940), deriving from Wilder’s classic play, and made sure it did not get sentimental. It concerns, of course, the inhabitants of a small New Hampshire town in the early 1910s and receives savvy direction by Sam Wood. But this film which is convinced of the cosmic significance of everyday acts and experiences has none of the richness, the sensuousness, we expect from fictional movies. This is because it is talky and solemn and of limited scope. The characters are enjoyable, though, so the film is watchable.

Not one of my favorites from Forties Hollywood.

The 1975 Mike Nichols film, The Fortune, written by Adrien Joyce, is a 1970s screwball comedy set in the 1920s. It is a comedy of moral decline—that of two lawbreaking nerds—and not only is it not very funny, it finally turns tasteless as it concentrates on attempted murder.

Warren Beatty is unconvincing as an unscrupulous fool (the Clyde Barrow character was clever), but Jack Nicholson, with Bozo the Clown hair, is typically effective. The prize here is Stockard Channing, a pretty woman with a good voice and a beautiful smile. She plays a simple semi-floozy, an overgrown child inching into womanhood, giving a terrifically just-right performance. Alas, Nichols’s movie is far from Channing’s artistic equal.

I praised on this site Russell Banks’s novel Affliction, and I wish to praise Paul Schrader‘s film adaptation of it as well. Nick Nolte fits well the role of Wade Whitehouse, the tormented working-class man, and even though he rants a lot, such passion is generally appropriate. The film is photographed (by Paul Sarossy) and designed the way a picture about small town life in New Hampshire should be, notwithstanding the essence of this life simply cannot be captured as well, as deeply, as it can be by Banks’s words. The sequence wherein Wade follows in a vehicle Jack Hewitt (Jim True) is nicely done, as are the shots of Wade going ballistic over a lengthy toothache.

Sissy Spacek (as Wade’s girlfriend) is fine with tragic material, and Holmes Osborne is lively and resourceful as Gordon LaRiviere, Wade’s harassed and sometimes charming employer. This 1997 picture is very dark, too dark, but it is pretty faithful to the book. And it’s a film for adults—a profound one, if less profound than its source. The novel ought to be read, the movie seen.