Tuesday, November 14, 2006
The Science of Sleep (2006)
Director: Michel Gondry
The Science of Sleep reminds me of some of those 50s and 60s French New Wave films I have seen, such as Jules and Jim. The interest lies in their difference from just about everything you have seen before. The Science of Sleep certainly has that amazing effect of leaving you mesmerized in its singular dreamlike qualities and situations. But like the New Wave films, this interest does not ultimately lead to an emotionally engaging film, a satisfying film or even an enjoyable film. It is an intellectual oddity allowing you a moment to say ‘wow, I’ve never seen that before’. But once I’ve said that there is not much room to extend your commentary beyond marveling at the film’s many spectacular individual scenes, which do not add up to a satisfying whole.
The film is set in motion on the conceit that Stéphane is a child trying unsuccessfully to live in an adult world. Stephane has returned home for a visit and it is clear, perhaps because of a harsh childhood, he has not yet become an adult. The film is largely an exploration of the imaginative play of this adult/child and how, like a child, he retreats into his imagination (or into sleep) when the adult world becomes too complicated or frustrating for him. And when he must emerge from sleep or imagination to deal with adult reality Stephane reacts with emotional tantrums and spiteful interactions. Ultimately he can ‘play’ with the woman artist next door he has romantic feelings for but he cannot have a relationship with her.
What is truly marvelous in this film is the sense that the film-makers themselves are playing. They are like Stephane, creating a marvelous and sometimes breathtaking visual experience; but also like Stephane they cannot make the necessary emotional connection with the adults in the audience.
The Science of Sleep reminds me of some of those 50s and 60s French New Wave films I have seen, such as Jules and Jim. The interest lies in their difference from just about everything you have seen before. The Science of Sleep certainly has that amazing effect of leaving you mesmerized in its singular dreamlike qualities and situations. But like the New Wave films, this interest does not ultimately lead to an emotionally engaging film, a satisfying film or even an enjoyable film. It is an intellectual oddity allowing you a moment to say ‘wow, I’ve never seen that before’. But once I’ve said that there is not much room to extend your commentary beyond marveling at the film’s many spectacular individual scenes, which do not add up to a satisfying whole.
The film is set in motion on the conceit that Stéphane is a child trying unsuccessfully to live in an adult world. Stephane has returned home for a visit and it is clear, perhaps because of a harsh childhood, he has not yet become an adult. The film is largely an exploration of the imaginative play of this adult/child and how, like a child, he retreats into his imagination (or into sleep) when the adult world becomes too complicated or frustrating for him. And when he must emerge from sleep or imagination to deal with adult reality Stephane reacts with emotional tantrums and spiteful interactions. Ultimately he can ‘play’ with the woman artist next door he has romantic feelings for but he cannot have a relationship with her.
What is truly marvelous in this film is the sense that the film-makers themselves are playing. They are like Stephane, creating a marvelous and sometimes breathtaking visual experience; but also like Stephane they cannot make the necessary emotional connection with the adults in the audience.
