A French film about the relationship between a teen-aged boy (Ferreux) and his mother (Massari). Well, I guess more generally it is about Ferreux' coming of age, a kind of Bildungsfilm, because other characters play a part in his development -- a girl his age, a priest and tutor, and so forth.
Ferreux and Massari are a little closer, a little more playful together than a boy and his mother should be, and there are little warnings along the way that his budding sexuality is budding in what most people would consider not quite the right direction. The bud bursts into bloom at the end but nobody seems to care very much. Massari says it was a sacred and secret moment but will never happen again. And one supposes that afterward Ferreux takes off after that winsome blonde of his own age rather than rifling through his mother's underwear.
The performances are fine. Man, Ferreux looks as if he might have grown into that English actor who played James Whale in "Gods and Monsters" but whose name escapes me. It will come to me sooner or later but too late to use it here. The story of my life -- we'll call it "Plus Tarde." He's a pretty good actor for such a young kid. Totally natural, though a bit serious. Listens to Charlie Parker, of whom we hear a few shards during the story. Whew, what blistering runs, what genius.
Lea Massari is just about the right age and temperament for her role. She was a lot more dangerous before she disappeared in "L'Avventura," with her fulgurating sexuality. Here she's matter of fact about things, candid in her discussions with her son, clips his toe nails for him, sings happily while accompanying herself on the guitar, shrugs everything off. I think this is called "savoir-faire". It's kind of like having a constitutional Prozac-generator. She's just old enough for the part but has lost none of her foxy edge.
The priest senses something may be a little bent but his warning hints go unregarded. There are no moments of high drama. Nobody seems to worry too much about anything. Maybe it's the Dijon mustard in their diet, but whatever it is we should all have more of it. A genuinely good-natured movie about taking things just seriously enough -- not too little and not too much. Bird plays under the closing credits, a thoroughly apt petit cadeau.
Enjoy it.
Ferreux and Massari are a little closer, a little more playful together than a boy and his mother should be, and there are little warnings along the way that his budding sexuality is budding in what most people would consider not quite the right direction. The bud bursts into bloom at the end but nobody seems to care very much. Massari says it was a sacred and secret moment but will never happen again. And one supposes that afterward Ferreux takes off after that winsome blonde of his own age rather than rifling through his mother's underwear.
The performances are fine. Man, Ferreux looks as if he might have grown into that English actor who played James Whale in "Gods and Monsters" but whose name escapes me. It will come to me sooner or later but too late to use it here. The story of my life -- we'll call it "Plus Tarde." He's a pretty good actor for such a young kid. Totally natural, though a bit serious. Listens to Charlie Parker, of whom we hear a few shards during the story. Whew, what blistering runs, what genius.
Lea Massari is just about the right age and temperament for her role. She was a lot more dangerous before she disappeared in "L'Avventura," with her fulgurating sexuality. Here she's matter of fact about things, candid in her discussions with her son, clips his toe nails for him, sings happily while accompanying herself on the guitar, shrugs everything off. I think this is called "savoir-faire". It's kind of like having a constitutional Prozac-generator. She's just old enough for the part but has lost none of her foxy edge.
The priest senses something may be a little bent but his warning hints go unregarded. There are no moments of high drama. Nobody seems to worry too much about anything. Maybe it's the Dijon mustard in their diet, but whatever it is we should all have more of it. A genuinely good-natured movie about taking things just seriously enough -- not too little and not too much. Bird plays under the closing credits, a thoroughly apt petit cadeau.
Enjoy it.