TOUS LES MATINS DU MONDE
A film review by James Berardinelli
Copyright 1993 James Berardinelli
Running Length: 1:54 Rated: No MPAA Rating (Nudity, sexual situations, mature themes)
Starring: Gerard Depardieu, Jean-Pierre Marielle, Anne Brochet, Caroline Sihol, Guillaume Depardieu Director: Alain Corneau Producers: Jean-Louis Livi Screenplay: Pascal Quignard Music: Jordi Savall Released by October Films French with English subtitles
TOUS LES MATINS DU MONDE presents a fictionalized account of the lives of the 17th Century French musician-composer Sainte Colombe and his brilliant, flamboyant student, Marin Marais. The story begins with the death of Sainte Colombe's beloved wife and progresses onward as he tries to be the best father he can to his two daughters. After the passage of about twelve years, the seventeen year old Marin Marais arrives, seeking to become Sainte Colombe's pupil. Both of Sainte Colombe's daughters are attracted to Marais, but it is the eldest daughter, Madeleine, with whom he has an affair--an affair that is destined to shape all that comes after.
Were TOUS LES MATINS DU MONDE a British production, it might appear on MASTERPIECE THEATER as a two-part drama. The film moves at a leisurely pace, refusing to let modern conventions drive it faster than it's prepared to go. Those who are unwilling to simply sit back and enjoy the story as it gradually unfolds would find their time better spent somewhere else. TOUS LES MATINS DU MONDE demands--and rewards--patience from its audience.
This is a movie of few words. Take away the framing narrative of Marin Marais as he looks back on his life, and there's little dialogue in the film. As a result, TOUS LES MATINS DU MONDE demands distinctive performances from its participants when they don't speak. Eyes, lips, hands, and body language are vitally important to the success of the film. Fortunately, the assembled cast, with the possible exception of the younger Depardieu, are up to the challenge.
As for Guillaume, he's not the actor that his father is. At best, his performance is wooden, and it stands out uncomfortably in compari- son to the stunning portrayal given by Anne Brochet (Madeleine). Guillaume lacks range, and, as result, the film takes a dramatic turn for the better when father takes over for son in the role of an aging Marin Marais.
Where dialogue is lacking however, a resonant musical score takes over. Arranged by Jordi Savall, the soundtrack is evocative and moody, and, as might be expected, includes several compositions by Sainte Colombe and Marin Marais.
What might at first seem like a deceptively simple story is actually a tale of ego, passion, and the clash between the desire for fame and the pursuit of true art. Young and ambitious, Marin Marais wants to play at court for the king. Sainte Colombe, who has already rejected that honor, claims that the call of the musician supersedes all. The two clash over this issue, as well as over the affair between Madeleine and Marais.
TOUS LES MATINS DU MONDE is an emotional story whose potency grows with every passing moment. The unhurried pace of the film allows for greater character development than can be found in many domestic movies, and this enforces the impact of the conclusion.
Costume and set design are both impressive, well deserving of the honors already heaped upon them. We don't for one moment doubt that this story is taking place in the latter part of the 1600s. If there are anachronisms, I couldn't find them.
Despite its meandering pace, TOUS LES MATINS DU MONDE is a well worth a look for anyone who doesn't demand a large dose of action in a film to keep them riveted. This is the kind of pure drama, energized by character interplay, that Hollywood almost never produces.
Rating: 8.3 (B+, ***)
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