The Party
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The Party

The Partynote


Directed by
in 2017

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09/19/2017      partager tweet
Avis Cinéma


Followed by 74 members
1 amis 56 avis 

note has seen the movie in a theater on the 09/19/2017 Rating : note
I love English comedies and I'm always a fan of old black and white movies. A priori The Party had everything to please me. Especially since 70 minutes (including generics) on the counter it promised a good hour of pleasure.
And yet in the end, a certain disappointment even if everything is not to throw.
Let's start with the problems. Black and white, absolutely free and totally useless, it is more of a mannerism that is a little connected than a real necessity. The rhythm, too, somewhat chaotic, and it is a shame for such a short film, which has the consequence that the first half hour seems to last more than double. Especially since this first part rests only on dialogs sometimes brilliant, certainly, but which quite often fall into the ease.
The result is a disturbing impression of detachment from the viewer. It's hard to get into a story that we do not understand the direction.
On the other hand, for the positive, an impressive achievement inside this closed-door theatrical. Sally Potter manages to give a ceaseless movement to a particularly static action. Also a use of remarkable music and especially in what is the best moment of the film: the last quarter of an hour where suddenly we pour into the total delirium and frankly very very funny.
Unfortunately it's a bit light for a movie.
The actors are doing pretty well with nevertheless a tendency to overplay, perhaps wanted by the director.
In the end and on reflection, the final twist, brings the entire film to a simple funny story that is sometimes told at the end of a dinner. Too bad.
03/10/2019      partager tweet
Avis Cinéma


Followed by 606 members
4 amis 1094 avis 

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note has seen the DVD on the 03/09/2019 Rating : note
A closed-door meeting that turns to the settlement of accounts: "Festen (1998)" by Thomas VINTERBERG? "Carnage" (2011) by Roman POLANSKI? "The Given Name (2011)" of Mathieu DELAPORTE and Alexandre de la PATELLIÈRE? "Just the end of the world" (2015) Xavier DOLAN? All these examples to show that this device of theatrical origin is often used in the cinema especially for its efficiency due to the respect of the units of place, time and action. Sally POTTER's "The Party", a black and corrosive (and black and white!) Version of Blake's colorful and burlesque film EDWARDS, is a perfect fit. His Bobo British satire-themed cocktail works with borderline characters, bordering on the caricature, but sometimes succeeding. The staging is rather inspired, highlighting the contrast between appearances (the united couple celebrating the political triumph of Madame) and reality (the dereliction live of a couple who is no longer one with the revenge of the husband on his careerist and adulterous wife). This exposure contaminates the other characters, forced in turn to go "spit on the bassinet" (this is the picture that comes to me in view of the many scenes where one or more of them lock themselves into the toilet to vomit or confess, the garbage can of the yard being used to the contrary to try to hide the resentment). It could be just a torrent of gall in the direct lineage of Roman POLANSKI's closed-door satire specialist, fortunately the film goes beyond the grinning mask and tries to reach the flesh in the image of the Janet's knee cut (Kristin SCOTT THOMAS). Her husband Bill (camped by a greatly reduced Timothy SPALL) with nothing to lose decides to shatter the "Secrets and Lies" (1996) as in the movie of Mike LEIGH. This is the only character who is not agitated from the jar because he is at peace with himself. But his action is worth it to take full face in the true sense. Conversely the palm of laughter is won by the unpardonable Gottfried, the "life coach" lightly illuminated (and destiny predestined with a name like that!) That spot in the middle of all these British (and played brilliantly by the regretted Bruno GANZ who could shine in all registers). You have to see him meditate in the middle of the general fight, play the spiritual advisers, become a universal doctor, try to reconcile the lover and the deceived husband ("You already have something in common" ah ah ah!) And even try to wake the dead! Not to mention the exchange with his wife's tongue as sharp as a razor (Patricia CLARKSON). The lesbian couple and the depressive advocate have less relief but complete the study of the hearts of this small community. On the other hand, and despite what the press has said, I am less convinced by the political satire of the British system, which exists through allusions but remains peripheral to history, which is logical with the choice of to film a nucleus inside. In the end "The Party" is a film well troussé, excellently interpreted, containing beautiful moments but whose very short duration and fast pace do not allow to go beyond the stage of very good entertainment.
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