I'm Going Home [Je rentre à la maison (2001)] is a
masterpiece from Manoel de Oliveira. This film is quiet,
fascinating, and truly memorable. de Oliveira has chosen
the aging, brilliant French actor Michel Piccoli to portray an
aging, brilliant French actor. The combination of skilled
director and skilled actor results in an almost perfect film.
The plot is basic and could be summarized in a paragraph.
What makes this movie a masterpiece is the manner in which
de Oliveira sets up each scene so that it is an organic
entity--linked to the scenes before and after it, but nonetheless
able to stand on its own. Each scene is, in fact, a small
masterpiece.
As an example, Piccoli's character is seated in front of the
mirror, while a makeup artist carefully, skillfully, and
professionally adds makeup. The scene is shot as if
through the mirror, so Piccoli and the makeup person are
looking at us to check the results. A man stands quietly in
the background. At first we don't understand why he is there.
Then, the makeup artists pauses, and the man begins to
place a wig on Piccoli's head. All three of these people are
portrayed as experienced, capable, and clearly expert at what
they do. They work quietly and efficiently in a manner
expected of people who have done this before, and will do it
again. The man steps back, the makeup person begins to
add a moustache, and, by the end of the scene, Piccoli's
appearance is transformed. A gem!
Think of this movie as if you were at an exhibition of Vermeer
paintings. You move from painting to painting. Most of the
works are small, often just one or two persons are portrayed,
and the lighting and composition are perfect. Each painting
is a masterpiece, and together they create a brilliant exhibition.
This is "I'm Going Home."
If you want bright colors, action, large expanses of flesh,
multiple characters, and constant movement, find an
exhibition of paintings by Rubens. Perhaps equally enjoyable,
but not Vermeer, and not de Oliveira.
masterpiece from Manoel de Oliveira. This film is quiet,
fascinating, and truly memorable. de Oliveira has chosen
the aging, brilliant French actor Michel Piccoli to portray an
aging, brilliant French actor. The combination of skilled
director and skilled actor results in an almost perfect film.
The plot is basic and could be summarized in a paragraph.
What makes this movie a masterpiece is the manner in which
de Oliveira sets up each scene so that it is an organic
entity--linked to the scenes before and after it, but nonetheless
able to stand on its own. Each scene is, in fact, a small
masterpiece.
As an example, Piccoli's character is seated in front of the
mirror, while a makeup artist carefully, skillfully, and
professionally adds makeup. The scene is shot as if
through the mirror, so Piccoli and the makeup person are
looking at us to check the results. A man stands quietly in
the background. At first we don't understand why he is there.
Then, the makeup artists pauses, and the man begins to
place a wig on Piccoli's head. All three of these people are
portrayed as experienced, capable, and clearly expert at what
they do. They work quietly and efficiently in a manner
expected of people who have done this before, and will do it
again. The man steps back, the makeup person begins to
add a moustache, and, by the end of the scene, Piccoli's
appearance is transformed. A gem!
Think of this movie as if you were at an exhibition of Vermeer
paintings. You move from painting to painting. Most of the
works are small, often just one or two persons are portrayed,
and the lighting and composition are perfect. Each painting
is a masterpiece, and together they create a brilliant exhibition.
This is "I'm Going Home."
If you want bright colors, action, large expanses of flesh,
multiple characters, and constant movement, find an
exhibition of paintings by Rubens. Perhaps equally enjoyable,
but not Vermeer, and not de Oliveira.