Comment of the movie In the house
IN THE HOUSE of François Ozon
Movie: In the house.
Original title: Dans the maison.
Direction: François Ozon.
Country: France. Year: 2012.
Duration: 105 min.
Genre: Drama, comedy, thriller.
Interpretation: Fabrice Luchini (Germain), Ernst Umhauer (Claude), Kristin Scott Thomas (Jeanne), Emmanuelle Seigner (Esther), Denis Ménochet (Rapha father), Bastien Ughetto (Rapha son), Jean-François Balmer (the director), (twin) Yolande Moreau, Catherine Davenier (Anouk).
Script: François Ozon; free adaptation of the stage play «The boy of the last line», of Juan Mayorga.
Production: Eric Altmeyer and Nicolas Altmeyer.
Music: Philippe Rombi.
It photographs: Jérôme Alméras.
Assembly: Laure Gardette.
Production design: Arnaud De Moleron.
Wardrobe: Pascaline Chavanne.
I release in France: On October 10, 2012. I release in Spain: On November 9, 2012.
A tired teacher of teaching for pupils without any interest rate, discovers suddenly, correcting the writings that these have delivered to him like duties, which one of the boys, to be inspired for the work on the weekend it has obtained «to slip in» in the house of one of its partners and writes how it is the life of the middle class, a completely inaccessible life for him.
The teacher, who at once remains captivated by the history, begins encouraging its student so that he keeps on writing, nevertheless, this it will take them to a situation that will begin escaping little by little to its control.
François Ozon, with this one new full-lenght film, tackles varied and complex topics, getting hooked up from the beginning with a small smile in the first minutes, when Germain (Fabrice Luchini) in a somewhat comical situation, in which all the teachers are paying attention to the director who explains the new norms, while he supports a croissant and looks at it like looking for answers in its interior to what it is exhibited. With a detail as insignificant as this we realize Germain, he is a tired teacher that the only thing that he wants is that they allow to him to give its subject as he want, and without thinking if the red pen or the green estresarán more or less to the pupil.
When Germain reads the Claude's first history (Ernst Umhauer), it remains fascinated and it is taught to its wife, Jeanne (Kristin Scott Thomas), who turns immediately into an external observer. These two form a happy marriage although anything atypical, the es excited of the classic literature and she an advocate of the contemporary art, but the difference has never been a conflict source, on the contrary, the love that the two feel for the culture he is like the son like whom they never had and this alone begins spending similar invoice to them about the end of the movie.
To all this, Claude keeps on delivering his histories to Germain on the family the one that somehow, would like belonging. It has turned into the best friend of the son and from here on he observes day and enclosed at night, how it is the life in this family. A father with a work that does not satisfy him and that is obsessed by China, a mother, Esther (Emmanuelle Seigner), who despite its sleep has turned into a mistress of boring house and of course Rapha, its friend, a small simpleton to whom only the basketball seems to be interested in.
The texts that Claude delivers to Germain are more and more frequent, and with the advices that this one has given to him to improve its way of writing, Claude gives free rein to its imagination therefore little by little, in the movie, it is to us more and more difficult to differentiate that it is real of what not, there us is fading away the line that it marks where it starts and where it finishes the fiction of the boy. Our protagonist is counting the history, it has turned into an obsession for both, Claude has the ardent desire of a sixteen-year-old boy and in its emulation for wanting to be part of the family and escape of its sad reality, it seems that he has fallen in love with the woman, and Germain who had writer's sleep but who never obtained it, escapes of its frustration by means of what Claude presents him, sometimes he is even seen "taking part" of the proper story that this one realizes, like a species of voice of the conscience.
In the end, the history begins destroying the two, Claude sees that it cannot belong to this family, which closes before its presence, and Germain has got tired of the whole fiction, which is existed I return too obsessive, coming to such a point that its student has brought in in its house and gone so far as to begin a certain relation with its wife.
The final scene of the movie, is perfect, seated Claude and Germain in a bank opposite to a building with many windows, every window representing a new history, a murder, a lesbians' couple, an elders' marriage that he dances, etc. A world with infinity of options and of possibilities to be discovered, if again, they enter again the house.
Finally, the new tape of François Ozon is led of perfect form, like the sultan of The thousand and a few nights that it could not decapitate to Scheherezade because he needed to know the end of the history that this one was telling him, both the public and the proper personages, they are always expectant to see that it is the following thing that is going to happen. Germain and its wife Jeanne, who although criticism at first with Claude, it has an attitude somewhat voyeurista, are always anxious for knowing that it is the following thing that this one will do when it goes to the house. And we, the public, that we contain the breath when we see him walking in the dark along the corridor hoping that they should not discover him, while it sees the parents making love or discussing, turn also into a few "onlookers" since we are eager "return" to this house to see like the history as continuous.
All this is thinly accompanied by a simple but very effective sound-track, we fight on the seat in the moments in which Claude observes secretly for the corridor and we sigh relieved when we see that once again has not been discovered. Also the photo is very guessed right, big stages do not need, only a classroom of the school, an office, the house of the family, anything daily to what we all are accustomed and that makes a little more believable to us everything what they show us.
Undoubtedly, In the house it is the biggest movie, which reflects, in a firm and forceful way, daily problems of the current society, a current family with its difficulties, a boy who tries to escape of the reality, disgusted teachers of pupils without interest, and of course, the emulation of many people for inmiscuirse in the life of the others, it is already not sufficient in spite of looking for the window, but we want to enter the house, and there is always a way of doing it.
Juan Matilla Varas
Filed file: Movies
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