The Story of Adele H. - Review 02
Oh, look, another review:
"I’m your wife. Forever. We’ll stay together until we die."
When we see the name “François Truffaut”, we sort of expect something: maybe a modern film, a more of a nouvelle vague aspect about it – and when we doesn’t see what we expect, it’s kind of disappointing. But that’s hardly a point to take note when we’re reviewing a film, but I thought it was important enough just to leave it written my frustration. But Truffaut was always a little too fond of the classic narrative, and as though he made the film that defined the French New Wave back in 1959, he didn’t spent too much time on it’s, so called, tiring aesthetic. And, although interesting, 1975’s L’histoire d’Adèle H. is not a very nice surprise.
As all other films, all the cinematographic aspects of it work around one theme, and in this particular case, it is obsession – about everything: love, family, work, writing, etc. And, although the director chooses a countless number of clichés resources to give continuity for the story – like reading letters with voice over and repetitive nightmares –, the evolution that he gives for the main character, beautifully portrayed by the gorgeous Isabelle Adjani, it’s wonderfully done. We observe Adèle getting crazier and crazier: her way of gesticulating becomes more aggressive, as for her way of talking, she starts using little by little less make up to give her face’s flaw – if any – amplification, and, by last, starts using darker tones of red. And, let us not forget the reading glasses that she starts using for no apparent reason.
I guess one other thing that’s interesting about this film is the fact the Truffaut kind of hides the fact that the main character is the daughter of Victor Hugo, and for the people who doesn’t know nothing about anything – like myself – were really shocked by the revelation, and started to understand a little bit more of the character’s conflict. But, that’s as good as it gets. Because, for more than half of the film, we do not identify with the main character – we just want her to leave the poor bastard alone.
And, if we really want to make ourselves like this film, we can take that “no identification” aspect as a modern aesthetic and, all of the sudden, everything kind of seems a little bit more understandable. But, unfortunately, I’m not in the mood of really wanting to like this picture.
★★★☆☆ (3 out of 5 stars)