A must-see for fans of Kristin Scott Thomas, under-appreciated brilliant British actress in a formidable French film, "Il y a longtemps que je t'aime" - it's one of my top 10 favorites for 2008. If you appreciate a film with solid emotional drama, and not in a hurry for the story (and secrets) to unfold before your eyes, this would be the film to see when you have some quiet time and want to have a good cry. Yes, this is a tear-jerker (probably more so as the 'truth' reveals), but certainly not overly sentimental as most European films are not.
The title "I've Loved You So Long" can very well be three-fold: a mother's love (Kristin Scott Thomas' Juliette) of a son long lost; a sister's love (Elsa Sylberstein's Léa) of a sister long missed; a man's love (Laurent Grevill's Michel) of a partner long gone. French writer-director Philippe Claudel's film is a tour-de-force drama, with deep human emotions in many levels and difficult circumstances and choices told through almost simple matter-of-fact vignettes of everyday life. British actress Kristin Scott Thomas powerfully ('très formidable') delivered Juliette, a study in extreme (incommunicable) grief, (guilt-ridden) regrets, and we, the audience, watch with anticipation - longs to see her regain her life's balance and recover from her grief, letting go of her regrets and embrace rebirth of herself. Her performance is strongly matched by Sylberstein's admiring sisterly role, with just as quiet restrain when the scenes demand. The three-fold 'love long lost' angle facilitates rekindling, reawakening, almost resurrection to all three situations involved.
The cast of the rest of Léa's family members is blessedly fitting: Serge Hazanavicius as Luc, the discriminating impulsive husband; Jean-Claude Arnaud as the silent observant (grand) Papa Paul; little Lise Ségur as the spunky, ever-inquisitive 8-year old P'tit Lys - a bridge between the sisters in a way; and rounding out with Grevill's Michel as understanding colleague to Léa & supportive new friend to Juliette; while Frédéric Pierrot as Fauré, an unsuspectingly affecting parole officer to Juliette. Not forgetting Claire Johnston's brief but effective mother of the sisters role, as one inflicted by Alzheimer's.
This is a bold first feature of Claudel's, the 'filmic' story was so comprehensively presented that it hardly feels so. I recall similarly in director Alejandro González Iñárritu's "Amores Perros" 2000 (tremendous storytelling through film also hardly felt like a debut feature), the ending credits song both were impressively sung with empathic feelings, resonant of the story and ending just told through cinematic lens, in the language of the director's origin. If you know French, and Spanish, good for you - I believe you will appreciate the song lyrics and each of the film much more. Jean-Louis Aubert is the composer of the song, with lucid guitar accompaniment, and he lent his musical poetry to the other film pieces, including the childhood song that Juliette and Léa sang while playing the piano, and P'tit Lys danced and twirled. I'm glad there is Production Notes (available from official site from Sony Pictures Classics) with interview and thoughts from w-d Claudel - it provided more insight and flavor to the film experienced.
The title "I've Loved You So Long" can very well be three-fold: a mother's love (Kristin Scott Thomas' Juliette) of a son long lost; a sister's love (Elsa Sylberstein's Léa) of a sister long missed; a man's love (Laurent Grevill's Michel) of a partner long gone. French writer-director Philippe Claudel's film is a tour-de-force drama, with deep human emotions in many levels and difficult circumstances and choices told through almost simple matter-of-fact vignettes of everyday life. British actress Kristin Scott Thomas powerfully ('très formidable') delivered Juliette, a study in extreme (incommunicable) grief, (guilt-ridden) regrets, and we, the audience, watch with anticipation - longs to see her regain her life's balance and recover from her grief, letting go of her regrets and embrace rebirth of herself. Her performance is strongly matched by Sylberstein's admiring sisterly role, with just as quiet restrain when the scenes demand. The three-fold 'love long lost' angle facilitates rekindling, reawakening, almost resurrection to all three situations involved.
The cast of the rest of Léa's family members is blessedly fitting: Serge Hazanavicius as Luc, the discriminating impulsive husband; Jean-Claude Arnaud as the silent observant (grand) Papa Paul; little Lise Ségur as the spunky, ever-inquisitive 8-year old P'tit Lys - a bridge between the sisters in a way; and rounding out with Grevill's Michel as understanding colleague to Léa & supportive new friend to Juliette; while Frédéric Pierrot as Fauré, an unsuspectingly affecting parole officer to Juliette. Not forgetting Claire Johnston's brief but effective mother of the sisters role, as one inflicted by Alzheimer's.
This is a bold first feature of Claudel's, the 'filmic' story was so comprehensively presented that it hardly feels so. I recall similarly in director Alejandro González Iñárritu's "Amores Perros" 2000 (tremendous storytelling through film also hardly felt like a debut feature), the ending credits song both were impressively sung with empathic feelings, resonant of the story and ending just told through cinematic lens, in the language of the director's origin. If you know French, and Spanish, good for you - I believe you will appreciate the song lyrics and each of the film much more. Jean-Louis Aubert is the composer of the song, with lucid guitar accompaniment, and he lent his musical poetry to the other film pieces, including the childhood song that Juliette and Léa sang while playing the piano, and P'tit Lys danced and twirled. I'm glad there is Production Notes (available from official site from Sony Pictures Classics) with interview and thoughts from w-d Claudel - it provided more insight and flavor to the film experienced.