The Diving Bell and the Butterfly: Grade A

A
The Diving Bell and the Butterfly (2007)
Mathieu Amalric, Emmanuelle Seigner, Marie-Josée Croze; Director Julian Schnabel. (French, Subtitled).

In 1995 the prominent editor of Elle magazine suffered a stroke in Paris, at age 44. When he awoke 20 days later, he found himself totally paralyzed except for his left eyelid. In this movie of that experience, the camera takes the stricken man's point of view as the lens peers out into the hospital room. We hear his voice, representing his thoughts, as he is first perplexed by his condition, then horrified, outraged, self-pitying, then finally challenged. He can see and hear perfectly well. It’s a brilliant use of the cinematic medium. When he cries, the lens, his left eye, goes blurry. Doctors, therapists, and friends stand in front of his one good eye and speak to him, many giving outstanding acting performances.

As the movie progresses, we move out of that restricted point of view so we can see him sitting in a wheel chair at the sea, and we have a full field view of his surroundings. The diving bell of the title is his paralyzed body, the butterfly his imagination, which is rich and varied. In beautiful photography, he reminisces on his life, especially on his relationship with his father, and imagines faraway places, journeys to other centuries, luxurious meals, and so on (though oddly, not tennis, rowing, dancing, or other vigorous bodily activity). One of his therapists develops a system of communication in which she reads the alphabet to him, and he blinks to indicate his choice of a letter in the list. By this method he manages to “dictate” an entire book, his memoir (The Diving Bell And The Butterfly, by Jean-Dominique Bauby. Translated by Jeremy Leggatt. Knopf, $20). This movie is a film treatment of that book. It is a treat for the eyes, with great acting and a fascinating story that never leaves you bored. The only disappointment is that most of the authors’ reminiscences are sentimental and banal. I would have liked him to reflect on the human condition, pride, ambition, the nature of suffering, fate, existence, God, the relationship between mind and body. But he was not that guy, so we get what he had to give, which is interesting enough, packaged into a very well-made film.

He Was A Quiet Man: Grade C

C

He Was a Quiet Man (2007)
Christian Slater, Elisha Cuthbert, William H. Macy. Writer-Director Frank Capello.

Slater gives a superb acting performance as a put-upon office nerd who decides to go postal but just as he draws his gun, another frustrated nerd in the next cubicle beats him to it, killing several office workers. Slater blasts the first shooter and becomes a hero, but the woman he secretly loved from afar (Cuthbert) has been paralyzed in the shooting. The construal of these events is that he saved her from certain death, so they develop a relationship with him as her caregiver. Macy is the self-centered boss in a throwaway role. Some difficult paraplegic/wheelchair scenes are well written and deftly directed. The cinematography is superior, especially the use of color and composition. However, there are very serious problems with the screenplay that ruin the movie’s integrity. There is a 15 minute (it seems) section in the middle where a tedious folk song plays over a montage supposed to show Slater and Cuthbert building a relationship. It is mind-numbing and ineffective; a dead weight that brings the whole movie to a halt. The story recovers, but in the final scene, the suggestion is left that it was all a just dream anyway, which is how a nine year old likes to end a story. Earlier dreamlike sequences surrealistically imposed on the realistic narrative could suggest that Slater’s character was psychotic, but they were more humorous than serious and his emotionally complex relationship with Cuthbert negates the idea of psychosis, making the ending just stupid or lazy. How a single writer-director could be so inconsistent is a mystery.