Those which like to me will take the train

Those which like to me will take the train is a French film of Patrice Chéreau, left in 1998.

Synopsis

Jean-Baptiste Emmerich, born with Limoges, painter scandalous and Tyran screws with Paris, Mort with Paris, wants that one buries it with Limoges (the largest cemetery of Europe). It is by this Phrase that it regulates its last wills, him which saw it arriving and did not want to leave while leaving the others in Paix.

Under cover of Burial, this Film dissects a Journée of about fifteen characters in crisis, gathered around a death, whose presence and glance realized them, which lost any reference mark and are found obliged to confront the ones with the others. This Man, by leaving these alive that it had so extremely influenced, leaves them vis-a-vis Question S which its presence made forget.

Comment

The idea of this film comes from funerals of the famous scenario writer François Reichenbach who said " Those which like to me will take the train". Follows the descent of its family and his/her friends has Limoges in 1993. Daniele Thompson belonged to the travellers.

Film representative of the tension that Patrice Chéreau can cultivate and maintain, with the screen as with the Scène, in the middle of its characters and between those. The Séquence of opening (long Dolly Camera with the shoulder of the entry of the Station until in the Train) is for this reason emblematic and amazing.

Data sheet

Distribution

Césars 1999

Original soundtrack of Film

Chéreau made in the variety: a Music very present which illustrates whole scenes, transferred on assemblies of images. That gives an excellent result left in the record dealers on May 20th, 1998: Nina Simone, Catherine Lara, Portishead, Christopher Young, Gustav Mahler, Jeff Buckley, Cake, Eric Nephews, Björk, Bandaged of Cornetas there Tambored, The Doors, Charles Aznavour, Willy DeVille, Massive Attack, Rita Mitsouko, PJ Harvey, Nina de Artequera, James Brown, The Divine Comedy

The most beautiful scene of all film

The scene more moving by all film is that where Claire (Valeria Bruni-Tedeschi) discovers in the half-light, between two doors, the true identity of Viviane (in the past Frederic: Vincent Pérez). She seems disturbed but notices especially the beauty of Frederic, beautiful man, become beautiful woman. She cries so il/elle seems to him beautiful. How a transformation of man into a woman can it give if beautiful woman. Claire feels almost ugly vis-a-vis this beautiful woman whom it has so well-known when he was man. It is as if the Frederic whom she knew had died and had just reappeared as a Viviane. Claire will have to relearn to know Frederic/Viviane.

Vincent Pérez

It is the surprise of film. The actor, accustomed universe of Chéreau (Theater of the Almond trees of Nanterre, Hotel of France, the Queen Margot). It plays a transsexual there, in other words a person who feels a woman and suffers from her body of man; It does not have yet its body of woman but more completely a man. He wants to avoid the names of pétasse. He chooses Viviane, he finds that done fairy. Of Frederic, he becomes Viviane. He likes over all the shoes and dreams himself as a baker. It is a second-role surprising for this actor accustomed to the characters of young first romantic. But at 34 years, it last a course of its life. It is ready to play of the more incongruous roles and riper men. It misses with a hair Cersar by the male supporting role, whom it would have largely deserved. It proves to us all the same here, that he is a large actor.

Press review

It is incredible the glance of Patrice Chéreau on the tape of zouaves whom it flanked in the Train, thrown through the Paysage to three hundreds with the hour. Incredible of Tenderness, generosity, respect, the singularity of each one. With this glance, a scenario writer can all film, most commonplace, most extreme, more mélodramatoc. And it does it. It is upsetting and funny. Jean-Michel Frodon (Le Monde)

Like “the Queen Margot”, “Those which like me…” abounds characters that the camera tightens with nearest. , Joined together in a train to go to the burial of their friend, all seek, quarrel and are made evil to make conceal their pain “I have a taste, said Patrice Chéreau, for the intermingled Histoires. I controlled this time better. There is much at the beginning, then that is tightened. The Scènes lengthen and one starts to say things. ” And, could one add, like it says them well! On a Melting pot of subjects not always obvious to film (the Dead, the appropriation of a spiritual heritage, the Paternity, the Homosexuality), Patrice Chéreau sign a admirable Film.

Jean-Charles the Miller (The voice of the Lyonese)

Immersion, as of the foregrounds, of the Camera to the Heart of the Crisis. It sticks to the body, with the Visage, pitiless, it is feverish and precise, it seeks and finds, it insulates a Visage, a Regard, a Geste. The Foule in a hurry in the Wagon coral separates and is betrayed. The controlled brutality of the movements is relayed by the brutality of the assembly. , Manner Chéreau does not spare the subjected spectator, moreover, with a exaltée band. It is it which makes meetings, slaughters, as said it Doillon some of its clean Film S.

Jean-Pierre Jeancolas (Politis)

As always, Chéreau is intended there to film body, to scan Visages, to make Accoucher its Acteurs of a Texte and to maintain at its troop a tended line, sharp. But there is here the feeling which all this superb work turns in neutral, that the style exceeds the substance, that the Idea dominates the Chair. Fusion between Theory and Incarnation operates only per fugacious moments: the back Dolly on the Cemetery, fulgurating, like a funeral mental image of contemporary France; or the Scene between Trintignant, Perez and limp them with Chaussures, which makes pass a true disorder…

Serge Kaganski (Inrockuptibles)

Knack, a Artiste is Mort. It is Enterré in Province. Its family, her Friendly, takes the Train with Austerlitz for the last Hommage. Occasion to discover reports/ratios than tended more. The Enterrement of family is traditional drama Bourgeois. However there, it becomes a Lyrisme of Cinéma. Chéreau, which knew triumph with Bayreuth, however takes us along only to Limoges. What imports. The network of the flashes with which it lays out its opening is splendid. In the Train, it mixes information (the Voice-over of recording of the Mort), the Sentiment (the network of the glances which are hoped or exasperate themselves) and the action (the portrait burst of each one via railway agitation) in a splendid lesson of setting in scene… As many bonds which do not cease being tightened, by the desire or the rejection, around this ridiculous Enterrement (with Limoges, “more large Cimetière Of Europe”).
La put at the hole of a father Artist and nihilist, who wanted anything of nothing but which is instigator of all, is thus treated here through the effects on those which remain… Valeria Bruni-Tedeschi made the mouth like ab, with much of hair in the eyes. Charles Berling, still better than of ab, plays a wire disturbed Jean-Louis Trintignant, disillusioned Frère of the Mort, which reaches there with the pure genius of ease as a merchant of shoes of Luxe… Beyond that, there is in the Film a side catalogs a conclusive bit of the sociologists of the time… In particular in the Skewer of homo, however extremely well held: the esthète with the physique of sculptor (the very serious Pascal Greggory), the Travelo Extraverti with the Hormones (delicious number of Vincent Pérez which Dream as a baker) or the giton luminous and séropo (a Sylvain Jacques very dishevelled)… here, a public not reversed will have to take its handbook of psychology at the heading “deprives of the father”. But if the Film arrives to an exact seismography and upsetting harmlessness of all family, it wants also plea for necessary Play of Roles and of Rites… In short, orchestrating contradiction major between all that one hates and all that founds us, Chéreau tried the total Film on large the variation of the subsidiary reports/ratios. One will be able to discuss ad infinitum of it the Morale, very little Claire. But it superbly made a success of of it the Mise in scene.

Jean-Jacques Bernard (First)

To say Chéreau which it is a Intellectuel Prétentieux is not a revelation. HE offers an intelligent but tedious film here to us. Lastly, tedious for the common run of people. Perhaps the elite will adore…. How the whole is filmed without talent, it remains only one brilliant exercise of Scénariste which would have been caught, once more, for a Cinéaste! Christophe Calzado (Cards of the cinema)

Jean-Baptiste, who knew Malade, wanted to be buried with Limoges. “It is far”, one had remarked to him. “Eh well, those which like to me will take the Train”, it had answered… One does not know very well who is which. Only glares of character are seen. The Caméra of Patrice Chéreau is our Fil of ARIANE in this Portrait of Groupe where each one is revealed with the wire of the Voyage. Never last, but unjust. Brilliant, but stripped of free Virtuosity. A little with the manner of John Huston in People of Dublin, it binds the daily complaint of the Hommes to the peace of the eternity which encircles them. It passes from the life, where all is played unless the tender ones are not interfered, this unknown a priori terrible, but where all is playable, even the hope. Splendid interpretation: Trintignant, Gréggory and Vincent Pérez in Transsexual in the name of fairy.

Pierre Murat (Télérama)

There is here, like often in the Films of Chéreau (“the Queen Margot”, “Flesh of the orchis”), the idea that very small company functions like a court, with its secrecies, its courtiers and its cabals. Except that here, the King is Mort, the world does not have any more its order and the particles are knocked with all. Inevitably, any movement (basic physical law) releases from energy. These people-there thus will warm up, to be irritated and finish by engueuler. But these little stories (with which you layers? Why did you do me a Enfant in the back? Who of you or me did he like best?) interest Chéreau only because they have a formal translation. “Those which like me…” is a so obvious exercise of style that the reproach of Maniérisme will not fail to be to him made. However, precisely, it is to be held valiantly and almost exaggeratedly with party taken that Chéreau succeeds in exceeding the form, or rather than it makes the form even become the emotion.

Stephan Bousquet (Books of the Cinema)

In a Tape recorder, the Voix of Trintignant is made hear. It is him whom one goes Enterrer. It was painter and seems much to have marked the Assemblée, which counts Drogués, Homosexuels, Hystériques, a Transsexuel. Not astonishing that the Contrôleur never claims their Billets to them. These people-there find themselves in the Toilettes, insult themselves on the Quai, chamaillent themselves in the Cimetière, speak with Majuscules about the Mort, Amour, etc the result ends up being Comique, as if Claude Sautet had been mislaid in one limps gay. In short, that empeste the mode and the claim. Those which do not like to me will take the door.

Eric Neuhoff (Mrs Figaro)

A painter comes Mourir and chose to be made Enterrer with Limoges. Its Friendly, its Lovers, the Friendly of his/her lovers, finds the members of his family to make the Voyage in Train. The occasion to give a progress report on their Lives. The Images which are entrechoquent, of the outlined gestures seized with the Vol, of the exchanged glances taken on the Vif, of the Dialogs which mix, of the Musiques which are connected… The symphony of the world, its beats of Heart and its Tears. From the start, one is struck by the ambition, the quality and the force of the setting in scene. By this mixture of Audacity, of Freedom, invention and ambition which causes like a dazzling. All the beginning of this strange voyage which leads towards a tomb is one of most beautiful things the than one saw with the cinema for a long time. And one of most resolutely contemporary. Like if, in the palate of the cinema, Patrice Chéreau came to open a door remained mysteriously closed up to now. It there in this Chéreau there, at the same time something at the same time of a abstract painter which could give Vie to the matter and of a medical examiner who would expose the feelings. Lyricism and Clearness, emotion and Splendid Precision…. Of course, the beginning of this Film, entire in the movement and energy, puts the bar very high. And, even if Chéreau makes a success of thereafter a tempting cocktail of the kinds and tons, one will not be able to prevent oneself from regretting one can that one is not posed more. Or that this character of the Dead that Chéreau furiously gave us desire for knowing, is diluted not to more be but revealing bonds which link these wounded beings, thrown in the storm of the Amour and of the Désir. Each one indeed carries out what it was for this Homme that one prepares with Enterrer, and of the blow, which they all are, ones compared to the others. And on a superb original soundtrack, actors inspired (and they have all formidable, of Trintignant, more imperceptible and deep than ever, with Vincent Pérez, literally incredible in a very unexpected Rôle, while passing by Berling, Gréggory, Todeschini, Valeria Bruni-Tedeschi, Dominique Blanc, Sylvain Jacques…) the pain ~ and carry the hope ~ Aimer until the Incandescence. Their Ombres trembles on the walls a long time still after fires died out.

Jean-Pierre Lavoignat (Studio magazine)

Patrice Chéreau in connection with the Film

I now know what the Cinéma brings to me, which I can find only with the Cinéma. One should not violently separate the Cinéma from the Théâtre like one makes it, even if I know well that we are in a Pays where the Frontières have evil to be crossed. Thus, when I meet people who ask me for my projects, and whom I answer that I have just finished a Film and that I write of it another - what is true - ``But the theater? '' they question. ``Not, not of immediate projects''. ``What a damage! '' they exclaim then. There is no damage. The cinema and the theater are not separate and incompatible universes, though one says. Any kept reverence, I prefer to remember the example of ``Citizen Kane'', whose Générique is marked at one time very beautiful: ``Turned with the actors of Mercury Theater''… (Patrice Chéreau)

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