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Grande école seems to be one of those films that viewers either admire passionately or dismiss as a mess. Robert Salis (’À la recherche du paradis perdu’) has not only adapted the play by Jean-Marie Besset for the cover, he is also the thoughtful, quick-witted, and engrossing director of this limited masterwork. Though there is great to please the casual explore (the cast is a collection of truly delicate people!) with sensual scenes as fearless as any yet filmed, the staunch beauty of Grande école is the multilayered fable, a memoir which explores the dichotomies of class, urge, gender, philosophy, economic situation, and history and social issues – unprejudiced the sort of milieu expected from a ‘big school’ environment.
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A spectacular opening sequence reveals a castle-like private college in Paris complete with extended pyrotechnic displays of aerial fireworks, a exquisite metaphor for the personal explosions that will accompany the students in the school year in this college of the prosperous and one heavily weighted toward capitalistic ideals of perpetuating wealth. Paul (Gregori Baquet) is at the onset an oddity: he is he son of a Marseilles contractor, a man who has created a home life of racism and classism, a father who haughtily sends his son to the elite school to learn marketing and management despite the fact that Paul is more inclined toward the artistic aspects of learning. Paul has a girlfriend Agnès (the stunningly aesthetic Alice Taglioni) who is a liberal supporter of human rights and while she attends the neighboring liberal arts college, she cannot understand why Paul can’t section a flat with her. Paul prefers to live in the dorm and his roommates are the passive Chouquet (Arthur Jugnot) and the pinnacle of materialism Louis-Arnault (Jocelyn Quivrin), who not only is focused on his studies but also on his college water polo team and his girlfriend Emeline (Elodie Navarre) .
Paul and Louis-Arnault bond and though Paul has a strongly luminous sexual relationship with Agnès, he finds himself attracted to Louis-Arnault. In a post-game shower room scene Paul sits on the bench viewing the team playfully soaping each other and his sense of sexual awakening is palpable. Paul steals Louis-Arnoult’s boxers, lies on his bed and we are aware that he desires Louis-Arnault. During this opening of the school year the three roommates stroll the campus and encounter an argument among the workers: Mécir (Salim Kechiouche), a young ravishing Arab from the working class, is being berated and Paul jumps to his defense. The two build explore contact and a chemistry is created. Though neither of the two considers himself homosexual (and there is a splendid scene that describes that desire is desire whether hetero or homo sexual) but gradually they drift into an erotic world of sexual discovery (in some of the most artistically sensual filming ever created!) .
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Agnès senses Paul’s sexual changes and convinced that his longings are for Louis-Arnault, she poses a wager on which one will have the spruce Louis-Arnault first. Changes and conflicts occur honest and left (mise-en-scenes lifted directly from the play) and the bonding of each of the characters is dramatically altered – Paul, Agnès, Louis-Arnault, Emeline, and especially Mécir, who is the only character in the film who seems in touch with his inner person. It is about the social and sexual and class games people play and how these irrational subdivisions of our culture can lead to black ends.
The cast is not only physically graceful (and there is sufficient plump frontal nudity to pick up access to the complete actors!) but they reply to Robert Salis’ direction with graceful ensemble acting. The interweaving of dream sequences and illusions that accompany the utterly grounded lawful storyline enhance the film immeasurably. Emmanuel Soyer is responsible for the aesthetic cinematography and Éric Neveux for the fresh musical fetch, a pick up beautifully complemented by excerpts of the music of Bach, Brahms, Bizet, Donizetti, Puccini and Shostakovich.
As an famous and curious addition to the CD Director Salis presents an wonderful ‘making of’ segment including deleted scenes (and why they were deleted), running commentary from all of the actors, and a discussion of Foucault’s philosophy and the nebulous concept of ‘desire’ – a facet of being an alive being. Highly recommended for those who long for engaging films of substance, films that impress on the psyche for meditation long after the film is finished. Grady Harp, July 05
An fabulous film, far better than so many foreign and indie films released in theatres. Shimmering, erotic, surprising, suspenseful and literate, it keeps your attention from the opening shot (you’ll peep why) and then unfolds in ways that find you unawares. I can understand most straight to DVD offerings but this one remains a mystery. A squandered opportunity by Wellspring Releasing (that released that pretentious dud “Twenty Nine Palms”) . Peer it on the slight conceal if you must but peer it.
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