(3,5 / 5) Selon une trame d'abord réaliste, puis se mettant - comme chez Borges - à "bifurquer" en chemins surréalistes, Mastroianni campe quatre personnages (et non trois) d'abord successivement, puis quasi-simultanément. Un bel exercice schizophrénique, où Ruiz s'amuse avec les couleurs, les miroirs, les split-screens, les superpositions… mais qui devient trop explicatif (trop "simple" ?) dans sa dernière partie.
+ However bleakly / fluffily refutable, each Ruiz film is commendable enough to earn him the Rubaiyat's 11th quatrain sans fear of retraction thereafter. (Here with a Loaf of Bread beneath the Bow, | A Flask of Wine, a Book of Verse and Thou | Beside me singing (filming) in the Wilderness - | And Wilderness is Paradise enow.) Behind the pompousness of declaration lies my awe w/ the Cortazarian mischief of this mind.
Amazing feverish dream or, perhaps, a nightmare on the verge of the surreal... Each "story" escalates the ongoing madness. I loved the subtle, dark humour that is used sparingly but just in the right place. The stories and the transitions are rather confusing, but I guess that fits the theme. It so much reminds me of the affliction of schizophrenia but in a light, humourous take.
One of Ruiz's very elegiac and subtle films, driven by elegant cinematography, Mastroianni's craftmanship and by the unique ellipses that gently upset the time-space continuum. Impossible to convey its plot and multiple unfoldings of the human personality, Ruiz's film is a tapestry of emotions, moods and of gentle melancholy on the meaning of our existence, presented here in cyclical narrative structure.
The film is almost comically french. All of the stereotypes of obtuse and melodramatic "frenchness" are on display within this film. That is not it doesn't have beatuy in these moments. The narrative progresses swiftly with a good trust in the audience's intelligence. The score is lush and only a little too over bearing to add the atmosphere to the otherwise quaint film. The film well crafted, just lacking realness.
Quite a trip, and not an altogether good one for me judging by the fact I had a nightmare afterward and woke up with a headache and some serious nausea in the morning. I have mixed feelings here, actually thinking if not for Mastroianni it may well have been flat out dreadful. 3.5
A mish-mash of narratives. Great work by Mastroianni as he transitions from scenario to scenario. Each of the individual stories is enjoyable, however strung together it doesn't work entirely smoothly. A bit disjointed and off-putting at times. But still... worth the watch. Some interesting visual moments and camera work at times. A few quite enjoyable comic moments as well. A bit uneven, but intriguing in the end.
My 2nd Ruiz film to date, and once again a favourite--the pace is right, the color schemes (red and gold washes, rose-filter, white daylight) make note, and the story, twisting, somehow unrelated, converges in the third act. The score, lush & telling, but scarce. There's such imperfect consonance by the end of the film, which leaves you with a sense of peace amongst obvious tension and upset, much like a dream.
3.5 stars. Sly but never winking. Ruiz is mana for a neurotic and guilty soul like me as while his films do not suspend morality, they have a different morality. '90s Ruiz is a relaxed stylistic, which gives his films of this period an easy charm, though they are not without their quiet fevers and consternations. I was surprised to be reminded of Paul Auster's 'New York Trilogy'. "I was jealous... jealous of myself."
If Mastroianni is the narrative link, then Money is the thematic one.A man who wasted his time with money-eating fairies and alcohol. A man who divests of his wealth, but can't escape his upper class status. A philanthropist with nefarious purposes who enslaves his protégés. Excess, caste system, commodified social responsibility: all aspects of the 4th character, the businessman, "a sign that you belong to an elite"
Masterpiece. Caro and Jeunet owe Raoul Ruiz their careers as tonally anything they've done has been a poor paper trace of this original and morbid film. Similarly Gosling owes his career to the great Mastroianni's fussy-cool persona. It ties itself together toward the end, rejecting the promise of pure surrealism. I'm actually glad they did that, it means I might watch it again.
Strange, dreamy, and wonderful, Three Lives And Only One Death stars Marcello Mastroianni as a man living four different lives, with them all eventually intersecting more and more as the central character reaches a crucial tipping point that may well bring down his mental house of cards. Director Raul Ruiz weaves through a complex narrative and a number of tonal changes with deceptive ease.