Adequate adaptation..but they left out the entire story line about the boys (Georges and his friends) passing around counterfeit coins..and nearly getting caught. Also--the casting struck me as quite odd..I see the characters of Olivier, Bernard, and Lady Griffifth should have been a few years older...Olivier and Bernard look to be barely 14 years old..and the story seems weirdly pervy...the actors should have been closer to 15-16-17 in order to appear less prone to pedophiles (like Edouard and the Count). The story of Boris' suicide also was quite truncated..and made little sense.
6.0Plot summary
High-school student Bernard discovers that he's the fruit of a one-night stand by his mother. He despises the man who raised him, who is not his real father, and runs away from home, taking refuge with a friend, Olivier. Olivier is a shy boy, lacking affection, which he tries to find with his Uncle Edouard. The attraction between the two is mutual although neither manages to express his feelings. Through a combination of circumstances, Bernard is hired by Edouard as his secretary, and they both leave for a stay in the mountains. In a jealous pique, Olivier lets himself be seduced by the Comte de Passavant, a rich and trendy writer who is also cynical and manipulative. The count has a pernicious influence on the boy, who turns brutal and odious. Realizing this, he sinks into depression, not knowing how to find his way out.
Uploaded by: FREEMAN
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not quite true to novel
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Quiet loves
Summary
Successful adaptation, with literary breath and Proustian atmosphere, of Gide's novel about certain forbidden loves in the Paris of the 1920s.
Review:
Based on André Gide's novel of the same name, the film follows in the footsteps and conflicting loves of two teenage friends, Bernard (Jules-Angelo Bigarnet) and Oliver (Maxime Berger) and their relationships with adults. The former leaves the family home to later bond with the latter's uncle and writer, Edouard (Melvil Poupaud),while Olivier, enters the publishing world early, associating himself with the noble dilettante Robert de Passavant (Patrick Mille).
The director Benoit Jacquot tactfully tackles the controversial subject within the book: "forbidden" homosexual relationships and loves between adults and adolescents (with their burden of disagreement, jealousy, hope and depression),within the framework of a time where, however , a certain Parisian bourgeoisie and even family environments spoiled them or at least turned a blind eye.
The film makes an opportune use of the first person of the off-screen or epistolary literary story to express what the characters do not dare to say to each other and uses correct ellipsis to suggest or avoid showing certain situations (I did not read the novel and I cannot know if it exhibits the same modesty). A certain subplot is reminiscent of Volker Schlöndorf's Young Törless, an inescapable reference (based on a novel by Robert Musil published in 1906).
The tone, story, and meticulous period reconstruction of 1920s Paris immerse the viewer in a successful, but by no means, pretentious Proustian novel atmosphere in a film that sports tight performances by its entire cast.