Review of “Hello Sadness”: Chloë Sevigny complicates the remake

The mixture of sliding hedonism of adolescence and languid air of the French Riviera spurd on the explosive reputation of the 1954 novel by Françoise Sagan “Bonjour Sadsse”, written when the writer was herself a youngster. The adaptation of Otto Preminger of 1958, which coupled the then scandalous historical past with a brilliant Jean Seberg, Deborah Kerr and David Niven-Oltre for an experimental use of Technicolor and Monochrome-neburò solely his allure, inspiring the brand new French wave to begin. Jean Luc-Godard as soon as stated he might have dissolved from the ultimate blow of that movie to the opening of his “breathless” with a easy transition textual content: “Three years later”.

Sainted many years later, nonetheless, can a brand new movie in Sagan’s summer season historical past captured the identical ventilated intrigue? In the case of the Canadian author Durga Durga Chew-Bose, within the debut operate composed with security, the reply is each sure and never totally. Some seabed and situations are sturdy sufficient to keep up their heat and funky allure and this “bonjour sadnesssese”, with its Lusasace dreamy of the ocean and a sexy solid, makes good use of that familiarity whereas mixing classic glamor with trendy particulars.

But within the ardour of Chew-Bose to dig deeper into the circumstances behind the cruelty that alters the lifetime of a lady, there may be an extreme intellectualization of the explanation, the necessity to frequently break the elegant floor of the bourgeois characters of Sagan with auto-reflexion. In the tip he decreased a story whose stronger seed has at all times been his liveliness.

Under the blue sky and in opposition to the glittering waters, Cécile (Lily Mcinernny) is experiencing a golden summer season, spending high quality time together with her fascinating dad, Raymond (Claes Bang), and her fiancée and her hooked up, the village, her hooked up, her hooked up, her hooked up, her hooked up, their attachment, the seize of a dancer (Aliania.

That dynamic strikes with the sudden arrival of Anne (Chloë Sevigny), a fragile designer and expensive good friend of the deceased mom of Cécile. With her hair photographs, sketched shirts and lengthy skirts and a tone with cécile that’s pleasant however aunt-ish, Anne results in the fried ambiance a cooling maturity, a kind of vigilance. But additionally, within the rekindle of a dormant closeness between Anne and Raymond, there may be an imminent future for which Cécile isn’t prepared. Could it stop this from taking place and hold its summer season in summer season?

The movie of the novel and Preminger was primarily based on the system that its protagonist was wanting again on the monumental occasions from the attitude of that unhappiness of the title, so in the beginning you’ll be able to hear a bonus of Massicently in-the-Moment the director additionally leans properly with interstitial photographs that orient us with out perspective, whereas his selection of music, led by the soundtrack of Lesley Barber, is a real humor of romantic meloncholy.

But when the chewing-bose reaches interiority with the Iperaware dialogue (democratically utilized to every character), one thing is misplaced. “He is imagining how he seems to us,” Elsa feedback in Raymond in the beginning as they observe his daughter as a specimen. Later, Cécile tells his father: “Your silence is completely different – I’m not there.” These will not be strains, they appear notes of an actor on the best way to reproduce one thing speechless.

It is as if everybody was a widenist grass on psychology, which makes a scenario that exchanges of unconsciousness and harder to swallow to swallow. Everyone appears too clever to be topic to errors, though Sevigny approached, embodying somebody in a precarious state of emotional susceptibility, whose apparent intelligence hides not stated wounds.

There are methods to reveal the vulnerabilities of the clever and/or early through the navigation of the problems of the center. (Éric Rohmer has many wonderful examples.) But the chew-dark strategy on the finish appears extra medical than revelation. You can respect the trouble behind this “bonjour unhappiness” properly made with out essentially feeling its turmoil.