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"Beautiful Baby.
How Much Do You Think We
Can Get For It?" |
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Written and
Directed by Jean-Pierre
and Luc Dardenne
Starring Jeremie Renier,
Deborah Francois
Distributed by Sony
Classics - 2006 -
100mins - Rated R |
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Richard Propes'
Review
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A- |
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A story of redemption...or maybe not. |
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The latest film from
Jean-Pierre and Luc Dardenne, "L'Enfant," captured the Golden Palm at
Cannes 2005. It is destined to be a hard sell at the U.S. box office,
not so much because it is a foreign film but because it doesn't spoon
feed audiences with structured plot development, crystal clear
characterizations and that all too familiar Americanized happy ending.
The film centers around Sonia (Deborah Francois) and Bruno (Jeremie
Renier), a young couple who live, essentially, from moment to moment
in nearly every way possible. We are introduced to them as Sonia is
giving birth to Bruno's child. Bruno treats this moment as he does
nearly every other moment...with only a passing interest unless it
leads to an immediate, albeit short-term reward.
Of course, a young infant seldom offers much in the way of an
immediate reward. It is cute, perhaps, and may offer fleeting moments
of attention from others. However, a young infant cries, wets, poops
and wants attention...constant attention. Bruno may have more control
of his bodily fluids, however, he is not that far removed from this
young infant.
It would be easy, almost lazy, to paint a picture of "bad Bruno" and
horrible consequences. The Dardenne brothers don't do this in such a
paint-by-numbers way. Bruno, for all his deepest flaws, isn't really
an evil man. He appears, on whatever level it is possible for him, to
truly love Sonia.
Bruno is sort of an Elephant Man of emotional maturity. It appears
deformed, but deep within this outwardly appearing deformity there is
something there...a spark? perhaps. a sign of hope? possible. The
Dardennes do not make the choice for the audience...it is up to the
audience to decide the truth of this man.
One can guess from the title of this film that much of the film
centers around this young infant. Bruno, as one could guess, is a man
who will do whatever it takes to survive financially...well, except
for the all too obvious idea of working. He is, on a certain level,
noble in his purpose...he will provide for the wants of his beloved
Sonia, and for his own impulsive desires. Yet, he does so without
complaint and without hesitation. So, when a friend reminds him that
there are people who will pay for infants...well, you can guess what
happens from there.
The scene where Bruno shares with Sonia what he has done is achingly
painful. It is not so much that he has done anything to intentionally
harm her...As played by Renier, it is clear that Bruno has done merely
as he has always done. He has focused solely on the short-term reward,
because that is ultimately the only way he knows how to survive. The
look that Renier offers as Sonia reacts with astonished horror at what
he has done...well, the look is one I cannot forget.
Francois, too, is mesmerizing as a young woman struggling to grow up,
mature, find herself, find love and live right in a world that is
very, very wrong.
The film moves along with Bruno trying to right his wrong. Is he
attempting to do the "right thing?" Is he merely trying to make Sonia
happy because he loves her? Or, is he simply trying to smooth over the
situation because he needs Sonia happy to continue his con-games? All
of these things are possible, and all of these things appear logical
and even probable. Once again, the Dardennes do not decide...it is up
to the audience to ultimately decide the truth of the young man who
may, or may not, eventually grow up.
It is films like "L'Enfant" where I tend to differ from the average
American moviegoer. I will, nearly 100% of the time, take a movie such
as "L'Enfant" over the best that Hollywood has to offer. This isn't
really "brave" filmmaking, but it is filmmaking that is mesmerizing
and wonderful and intelligent and deeply, deeply authentic.
Hollywood has this horrid tendency to draw out paint-by-numbers
character development. This allows the audience to say "Okay, this is
the bad guy" and "Goodie, I can root for this guy" or "Hey, cool car!"
Filmmakers such as the Dardenne brothers recognize that life doesn't
actually work this smoothly...you and I are really the good guys and
the bad guys. We are the people living every single day of our lives
trying to do the right things, trying to survive and trying to find a
semblance of human connection in a world that sometimes makes it
nearly impossible.
"L'Enfant" doesn't necessarily make perfect sense, but how often does
life really make perfect sense? I'm 40-years-old and still waiting for
perfect sense. Somehow, I don't think it's going to happen.
"L'Enfant" further cements the reputation of the Dardennes as
innovative and essential filmmakers. The film is hindered only by a
minor weakness in creating that rich authenticity within their
dialogue as well as the character development and the context of the
story.
Ridiculously rated "R", "L'Enfant" would be a marvelous view for high
school graduates and young adults. It reminded me of my own
immaturity, my own short-term thinking, my own futile attempts at
connection and, ultimately, my own personal responsibility for all of
it.
Have you ever seen a newborn and just thought to yourself "WOW!" Some
newborns just radiate beauty and wonder and they just nearly reduce
you to tears. "L'Enfant" is a film much like these newborns...as I
left the theatre I was thinking to myself "WOW!"
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© Written by Richard Propes -
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