The movie which put Téchiné on the map.....

An ambiguous, confused and relentlessly gloomy thriller

Isabelle Adjani and Jacques Dutronc in Violette & François (1977)

Isabelle Adjani and Lino Ventura in The Slap (1974)

Isabelle Adjani, Isabelle Huppert, and Marie-France Pisier in The Brontë Sisters (1979)

Pierre Richard in The Return of the Tall Blond Man (1974)

Isabelle Adjani and Claude Amazan in Le Petit Bougnat (1970)

Muriel Catalá in Faustine et le bel été (1972)

Isabelle Adjani and Thierry Lhermitte in L'année prochaine... si tout va bien (1981)

Isabelle Adjani, Daniel Auteuil, Josiane Balasko, Christian Clavier, Christophe Bourseiller, Thierry Lhermitte, and Marianne Sergent in Clara and the Why Not (1981)

Isabelle Adjani and Yves Montand in Tout feu tout flamme (1982)

Isabelle Adjani and Gérard Depardieu in Barocco (1976)

Isabelle Adjani and Jean-Claude Brialy in Barocco (1976)

Isabelle Adjani

Gérard Depardieu

Marie-France Pisier

Marilyn Goldin

André Téchiné

The story of a girl in love with a boxer. They plan to go abroad after making a lot of money by participating in an interview intended to discredit a politician at elections time. But the boxer is killed, and the murderer, little ...

Barocco

Unpleasant viewing

This is a strange one. Hyped as a &apos;variation on Hitchcock&apos;s Vertigo&apos;, it certainly fails to be that. It is odd to see the very young Isabelle Adjani when she still had puppy fat in her face, as she does not look particularly like Isabelle Adjani at all except in the eyes at that age. It was a big mistake to cast Gerard Depardieu in the role of two characters, one a boxer who is murdered and the other the killer who murdered him for money. When the boxer&apos;s girl friend Adjani shows no sign of recognition of Depardieu the killer when they meet, we know the film is hopelessly contrived, because anybody can see that it is Depardieu. This is really stretching things too far. The film is gloomy, washed-out, laden with hopelessness, a bleak vision. Andre Techine the director shows some directorial skill, so that the film is not what one would call &apos;badly made&apos;. It is instead badly conceived and a failure. Also, it is rather affected to try to achieve some kind of mock-profundity by a &apos;study&apos; of a girl who wants to get together with the killer of her boy friend. If this is meant to have some deep existential meaning, it flops. The profundity can be measured in millimetres.

This is a strange one. Hyped as a 'variation on Hitchcock's Vertigo', it certainly fails to be that. It is odd to see the very young Isabelle Adjani when she still had puppy fat in her face, as she does not look particularly like Isabelle Adjani at all except in the eyes at that age. It was a big mistake to cast Gerard Depardieu in the role of two characters, one a boxer who is murdered and the other the killer who murdered him for money. When the boxer's girl friend Adjani shows no sign of recognition of Depardieu the killer when they meet, we know the film is hopelessly contrived, because anybody can see that it is Depardieu. This is really stretching things too far. The film is gloomy, washed-out, laden with hopelessness, a bleak vision. Andre Techine the director shows some directorial skill, so that the film is not what one would call 'badly made'. It is instead badly conceived and a failure. Also, it is rather affected to try to achieve some kind of mock-profundity by a 'study' of a girl who wants to get together with the killer of her boy friend. If this is meant to have some deep existential meaning, it flops. The profundity can be measured in millimetres.

The story of a girl in love with a boxer. They plan to go abroad after making a lot of money by participating in an interview intended to discredit a politician at elections time. But the boxer is killed, and the murderer, little by little, falls in love with the girl who finally accepts him at the condition that he looks like the boxer he killed.

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Barocco

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