…and the quest to see everything

HMWYBS: Reactions to Adele H.

I’m only writing on this space for Nathaniel R.’s Best Shot series (we’re still waiting on Possessed :S) because my water birth-like paragraphs about the shots from Francois Truffaut‘s The Story of Adele H. that interest me are too long for tumblr. Truffaut thought that Adele’s story as fitting to tell in a 95 minute feature. However she is only and arguably unjustly seen as a footnote in her father Victor Hugo’s life and only having a stub page in Wikipedia. Anyway….

Third runner-up, because of what iMDb’s mothboy88 thinks:

When Adele (Isabelle Adjani) writes “Victor Hugo” in the dust on the mirror, and then wipes it off, it’s almost exactly the same as when Hanzo writes “Bill” on the window, and The Bride wipes it off with her sleeve.

Although I can’t remember which Kill Bill he or she is talking about. Part 1?

Second runner-up: I’m probably not the only Canadian who reads Nathaniel but I’m probably the loudest. If I was patriotic I’d dedicate this whole post to Canadian representations in this movie, since it’s mostly set in Halifax. I was also a bit irritated at how half of the characters didn’t know who Hugo was, or that this movie made Halifax look like a city for less than the 50,000 of its population during the film’s time period of 1863. Or that it wasn’t filmed in that city until iMDB’s pbellema reminded me that Old Halifax blew up in World War I, the same war that put the news of her death in the fringes. I also realized that beginning the story with a map reminds me of Casablanca but this movie is obviously more depressing.

Runner up: Because it’s my space I would like to talk about my broken heart. And fittingly, downward spirals are one of Truffaut’s favourite arcs. There are many instances where I withdraw my investment on such stories from him and other directors, as much as I appreciate the execution and the acting in those movies’ final moments. Regardless of what I think about these kind of movies, my tendencies to over-read images sees this shot as a heterosexual masculine aversion from ‘ridiculous’ women, or the world, gender dominated or otherwise, rejecting her. It’s also a majestic moment in an otherwise intimate movie, although it makes me feel like an asshole that my runner-up shot shows Adjani’s back instead of her beautiful face.

Best: If the earlier shot shows the movie’s world, this shot explains its format. This is not your average epistolary movie, as she recites her letters instead of being heard through voice-overs. What captivated me visually is how it’s dark and grimy like a Delacroix painting (this movie loves the colour brown). The scene where this shot belongs to also puts many things into context, how she has to cut paper from a roll like she would for bread. How she would talk about how her father owes her money which, even to me who belongs to the ‘entitled generation’ sounds unthinkable. How her beloved Albert’s position would be jeopardized and how single-minded love like hers might and should have only existed in her lifetime.

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One response

  1. Pingback: Best Shot: Isabelle Adjani in "The Story of Adele H" | Music Movie Magic

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