The output of director Michel Deville is difficult to categorise, assuming one feels the need to do so. He is nothing if not varied! Between 1985 and 1988 he gave us the erotic thriller 'Peril en la Demeure', probably his most successful film, followed by the bizarre and surreal 'Paltoquet' which must be accounted a noble failure and finally the delightful 'La Lectrice'.
This is to my knowledge the only one of Raymond Jean's novels to be filmed so all credit to Michel and Rosalinde Deville for spotting the potential. It is the type of film generally referred to as being 'very French'. If by that is meant stylish, literate, well-constructed, tastefully erotic and caring more about character than plot then it certainly qualifies!
It is essentially about where reality finishes and fantasy begins as Constance the book lover and Marie the professional book reader, both played by the sensuous and enchanting Miou-Miou, call to mind very strongly William Styron's observation that 'one lives several lives while reading.'
The rather quirky clients who hire her to read aloud to them prefer subject matter that reflects their lives and predilections. The handsome young man confined by an accident to a wheelchair asks her to read one of Baudelaire's most erotic poems, one of six of his that were banned in 1857. The lonely businessman has a taste for pornography but has to settle for 'The Lover' of Duras although in his case Marie's actions speak louder than words! The general's widow loves the prose of Karl Marx(!?) whilst the magistrate has a penchant for de Sade's '120 Days of Sodom.' The expression on Marie's face when her eyes light upon the extract he has chosen is absolutely priceless.
As the businessman Patrick Chesnais picked up a César and in the cast are two splendid representatives of the 'old school'. Pierre Dux is the magistrate. A luminary of the Comedie Francaise he made his film debut in 1932 . As the widow we have one of France's greatest actresses Maria Casares whose first film was a little opus entitled 'Les Enfants des Paradis'!
The Production Design and Art Direction are superb and Deville again utilises classical music to great effect. Here it is Beethoven who does the honours.
This piece is really to do with the power of words and how vital they are in both enriching the mind and unlocking the imagination. As such, alas, it is a voice crying in the wilderness to so many of the current generation who spend their waking hours glued to screens.
This is to my knowledge the only one of Raymond Jean's novels to be filmed so all credit to Michel and Rosalinde Deville for spotting the potential. It is the type of film generally referred to as being 'very French'. If by that is meant stylish, literate, well-constructed, tastefully erotic and caring more about character than plot then it certainly qualifies!
It is essentially about where reality finishes and fantasy begins as Constance the book lover and Marie the professional book reader, both played by the sensuous and enchanting Miou-Miou, call to mind very strongly William Styron's observation that 'one lives several lives while reading.'
The rather quirky clients who hire her to read aloud to them prefer subject matter that reflects their lives and predilections. The handsome young man confined by an accident to a wheelchair asks her to read one of Baudelaire's most erotic poems, one of six of his that were banned in 1857. The lonely businessman has a taste for pornography but has to settle for 'The Lover' of Duras although in his case Marie's actions speak louder than words! The general's widow loves the prose of Karl Marx(!?) whilst the magistrate has a penchant for de Sade's '120 Days of Sodom.' The expression on Marie's face when her eyes light upon the extract he has chosen is absolutely priceless.
As the businessman Patrick Chesnais picked up a César and in the cast are two splendid representatives of the 'old school'. Pierre Dux is the magistrate. A luminary of the Comedie Francaise he made his film debut in 1932 . As the widow we have one of France's greatest actresses Maria Casares whose first film was a little opus entitled 'Les Enfants des Paradis'!
The Production Design and Art Direction are superb and Deville again utilises classical music to great effect. Here it is Beethoven who does the honours.
This piece is really to do with the power of words and how vital they are in both enriching the mind and unlocking the imagination. As such, alas, it is a voice crying in the wilderness to so many of the current generation who spend their waking hours glued to screens.