Roses à crédit


“You saw this girl? It is closed, the world itself.”
“She dances alone, I hate it.”
“No one invited her to dance?”
“It is so sad.”

Roses à crédit

The film is so sad and beautiful. I love the way the director usually used long take. In each scene, especially in the interior scenes that happens in house or in spa salon, if it is possible, most of the time, he tries to resolve the whole scene in one long take. Until the end of the film, I think I completely understand the reason why he tried to used one long take in the interior scenes that took place most in the rooms. The film tells story about the ill-fated marriage, the ill-fated couple in about 1950s, after World War II ended. The woman loves the material life, she’s eager to buy anything new or knowing it via advertising on radio, magazine; while the boy loves roses and want to hybridisize the new kind of roses. They struggled themself between their own desires and the other’s desires. Their life is just going down and down like the ebb with some short moments that everything seemed to be okay but then it continued with wrong and wrong. They usually argued in their apartment. That’s the point. When the director chose to use one long take in each of their argument, their dicussion without cutting shots, editing shots, we could felt like we were the camera in their apartment, or we were the invisible men observing their life. We just turned around and turned around our head to watch them, their motions, their walks from the door to another door and to the door, their walks from the wall to another wall again and again, over and over… By using one long take, we could feel the narrow space in their apartment, so we could feel their life just kept revolving, revolving around all the same thing, we could feel that frustrating air. If the director used different shots and then edit them in the interior scenes but not using one long take, it couldn’t make the effect like that.


Specially, I really like the last two long takes at the end of the film. The long take right before the last long take ended with the image of Marjoline’s feet fading out to black screen while the melody of the dancing song on their weeding faded in. In some scene, the dancing song resoundedin the same kind of way. It seems to point out that eventhough Marjoline argued with Daniel, teased at him but inside her mind, she always remembered their wedding day, his promise, the dreaming future that they planned together… The final long take is so beautiful and so meaningful. Then when all the motions stopped, the song Les rues de Paris resounded… The song is matched well with the film.

Once again, thank to Léa, I could enjoy this wonderful film.



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