A found wallet triggers an unlikely obsession in this film by the masterful Alain Resnais (Last Year at Marienbad). An ode to uncontrolled impulses and effervescent possibilities, it’s a thriller, a romance, a screwball comedy—and something else entirely.
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A very elegant, beguilingly mysterious study of mental frailty, obsession and the unexpected paths of fate, with a welcome dash of wit and adventurous spirit thrown in for good measure. A film to be relished and savoured for its use of colour and visual beauty too; Resnais' best for decades.
"Wild Grass" really, really, really looked like it was going somewhere interesting and then...not. Marvelous, creative film-making with some very interesting and well-realized characters. And the disappointment doesn't come until late in the film which is well worth seeing despite the let down.
"It feels odd to be walking together. You've barely met. You've spoken on the phone. Let's call it speaking. You'd given up hope of meeting. Now you're walking together. Not very straight. You could almost take each other's arm."
Not Resnais's best, the formal style is great and all that, but the story is a messy mix of obsession, botched fantasies, and FRUSTRATION leading only to irony, which the rest of the film is so rich in, it's like eating exquisitely crafted cake made only of frosting. Just meet me and fall in love with me like they do in the movies, or I will slash your tires and introduce you to my wife. Like in the movies!, sys Res.
A lurid, lyrical experiment in demented character study. Fun and frothy and weird and wonderful but an exercise--not a fully realized film. Still, Resnais being 88 goddamn years old and making something so enjoyable is an achievement, and a gift.
Watch it for the opening sequence alone. And the wit, the saturated color coding, the imaginative bravado...Earlier on I thought Georges was writing the "narrative" and conjuring up the other characters. It was as though he was drafting scenes for a novel-in-progress that didn't quite hang together yet. The final ending (there is more than one!) felt a little arbitrary, though playful and impulsive like the film.