34 of 35 people found the following review helpful:
4.0 out of 5 stars
Full of nuance, style, and more than a little erotic sizzle!, April 9, 2002
This review is from: The Girl (DVD)
"The first time I ask her, she takes me home..."
The moment those words are spoken, you know this is not your traditional lesbian romance movie! In fact, there is little traditional about the film adaptation of Monique Wittig's story, the Girl. From the nuance of characters without names, to the sparse dialogue and haunting jazz soundtrack, the Girl is an intricate weaving of all the classics -passion, jealousy, and revenge - tightly rolled into 84 minutes of cinematic style and more than a little erotic sizzle.
Based in the smoky nightclubs of Paris, the story starts off in narrative style by the Painter, a brooding, sexy, dark-eyed beauty played by Agathe de la Boulaye, who is irresistibly drawn to a nightclub singer, the Girl, beautifully played by Claire Keim. Ladies, these two are hot! The Painter alone is worth the ticket price-she could make butterflies flutter with just that quirky little smile! The first night they are together, the Girl tells her it's "only for one night..." But what a night it is! These two simply melt the screen when they're together!
Although the "one night" declaration has been made, the Girl and the Painter continue to see one another, creating a rather psychotic relationship bordering on pathos and obsession. The Girl pushes her away, only to run after her. The Painter returns to her arms gladly, no questions asked, filling their moments with heated passion. None of this seems to bother the Painter, as she seems willing to while away her days walking the streets, painting occasionally, or simply waiting for another passionate moment with the Girl.
One wonders how the Painter could live with such pathos and retain any shred of self-esteem or dignity. That is, until the introduction of Bu Savé-the Painter's longtime lover brilliantly played by Sandra N'Kake. Bu Savé was one of the few characters actually named in the film, and her presence creates a stability and balance to the Painter's growing obsession with the Girl.
As Bu Savé listens to the Painter speak of how the Girl is "not her type," one can't help but laugh at Bu Savé's insightful response, "...it must be interesting to find yourself attracted to someone you're not attracted to..." What a classic line! One soon finds out this affair of the Painter's is not the first, and as Bu Savé says, "it won't be the last." What many would view as infidelity, they view as freedom to be who they are. These two have a relationship that transcends traditional boundaries, allowing for what many may find unusual when compared to today's lesbian relationships, once again reminding you, this film is not your traditional lesbian romance.
Enter the Man. Played by Cyril Lecomte, the Man is every despicable stereotype one could imagine for a villain-arrogant, domineering, swaggering masculinity. At first glance, one wonders exactly who he is and what he is doing in the movie, as I didn't want to dislike him simply because he was "the man." It quickly becomes apparent, however, he thinks nothing of claiming any woman as his possession, to be used for his pleasure at his beckoning, and that includes the Girl.
The tension mounts as the Girl and the Painter find themselves in an increasingly dangerous relationship, as the Man becomes aware of the Girl's involvement with the Painter. His jealousy surfaces and a threat is issued-the Painter must go. Of course, she doesn't. However, the pathos of the relationship, coupled with the Man's continuing threats finds the Painter desperate to do something, not only to protect the Girl but herself as well. She walks the streets in desperation, searching, seeking a solution she cannot find, which eventually leads her back to the Girl.
The ensuing drama between the Girl, the Painter, and the Man, which one expects whenever such a tangled love triangle exists, and also expects to be a disappointing detraction from the film's edginess, only enhances the film's avant-garde appeal and leads to a climatic surprise ending.
If you're looking for a film full of verbose dialogue, neatly packaged storylines, and all-around traditional format that wraps it up in 90 minutes, "the Girl" is not for you. But if you're looking for a cutting-edge film with fantastic cinematography, beautiful and brilliant leads, a story with more questions than answers, filled with nuance and erotic sizzle, this is your film. In our opinion, the Girl is destined to be a classic.
-OutLook Press
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