I have only seen one other Zulawski film before this one, POSSESSION, and while I found that film to be better than this one (to be precise: something of a masterpiece, in my opinion), I believe that MES NUITS SONT PLUS BELLES QUE VOS JOURS is essential viewing for anyone who loves French romantic cinema. Though Zulawski himself is Polish, MES NUITS(...) is thoroughly "Francofied", from its almost absurdly poetic title to its frank depiction of violence and sometimes aberrant sexual behavior (not to mention sex in general, of course).
The story concerns Lucas (French singer-actor Jacques Dutronc), a computer genius who has finally hit the jackpot, inventing and selling a new computer language that will revolutionize the field of technology. To be sure, Lucas would ordinarily be thrilled with this, but he has just learned that he is suffering from a rare disease that begins by destroying the memory. With seemingly days left to live, he meets a beautiful, much younger woman in a café: Blanche (Sophie Marceau, then-lover of director Zulawski) is an up-and-coming nightclub performer and model (who seems to have psychic abilities). Though completely different from one another, they have one thing in common: desperation. Lucas's desperation comes from the knowledge of his impending death; Blanche's desperation is more spiritual in nature. Both Blanche and Lucas suffer from memories of tragic childhoods, and both feel alone and unloved even though they should feel on top of the world. The two begin a strange affair that I'd hesitate to call "tender"; there is plenty of passion in this film, but it is all very cold, as I believe was intended. In Zulawski's universe, there is no time for tenderness, and the laws of passion are the only ones worth following. As the film hammers on in an energetic, often funny fashion, it becomes increasingly dark and tragic. By the film's end, we are spending much of our time witnessing a fractured reality from Lucas's point of view. His deterioration is portrayed brilliantly by having Lucas constantly speak, in an attempt to hang on to sense and logic, only to lose all hope as his ability to communicate thought breaks apart, and gibberish flows ceaselessly from his lips. A tragic film, a darkly comic one, but at the last moment, I think an oddly optimistic one.
It's really too bad that so many people have never heard of Zulawski. After seeing only two of his films, I'm convinced that he's a unique and engaging filmmaker who deserves far more respect. Perhaps the future will see a discovery of his work. Quickly, before Zulawski retires...!
The story concerns Lucas (French singer-actor Jacques Dutronc), a computer genius who has finally hit the jackpot, inventing and selling a new computer language that will revolutionize the field of technology. To be sure, Lucas would ordinarily be thrilled with this, but he has just learned that he is suffering from a rare disease that begins by destroying the memory. With seemingly days left to live, he meets a beautiful, much younger woman in a café: Blanche (Sophie Marceau, then-lover of director Zulawski) is an up-and-coming nightclub performer and model (who seems to have psychic abilities). Though completely different from one another, they have one thing in common: desperation. Lucas's desperation comes from the knowledge of his impending death; Blanche's desperation is more spiritual in nature. Both Blanche and Lucas suffer from memories of tragic childhoods, and both feel alone and unloved even though they should feel on top of the world. The two begin a strange affair that I'd hesitate to call "tender"; there is plenty of passion in this film, but it is all very cold, as I believe was intended. In Zulawski's universe, there is no time for tenderness, and the laws of passion are the only ones worth following. As the film hammers on in an energetic, often funny fashion, it becomes increasingly dark and tragic. By the film's end, we are spending much of our time witnessing a fractured reality from Lucas's point of view. His deterioration is portrayed brilliantly by having Lucas constantly speak, in an attempt to hang on to sense and logic, only to lose all hope as his ability to communicate thought breaks apart, and gibberish flows ceaselessly from his lips. A tragic film, a darkly comic one, but at the last moment, I think an oddly optimistic one.
It's really too bad that so many people have never heard of Zulawski. After seeing only two of his films, I'm convinced that he's a unique and engaging filmmaker who deserves far more respect. Perhaps the future will see a discovery of his work. Quickly, before Zulawski retires...!