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I took the point of the final sequence to be the writer's noting the similarity between mother and child. Julie displays classic symptoms of having been sexually abused as a child by her father.

First, she is a nymphomaniac with a penchant for older men she is repeating the traumatic event. Second, she experiences a complete fugue when she hysterically identifies the protagonist as her mother and fears that she had abandoned her the way her real mother abandoned her and allowed her to be raped by her father.

Third, Julie makes numerous references to the sexually predatory nature of her father: "He's the king of the orgies"; "you're his latest conquest"; and her introducing one of her older lovers to Marcel as "her father.

Further bits of narrative emerge when, at their dinner, Julie tells the writer that her first sexual experience was at I think this experience was her rape by the publisher.

It's not stated how old Julie is, but, assuming she's in her mid-twenties, the girl Julia at the end could certainly be her daughter if she had her at I think that Marcel's daughter's stating nervously that Julie's mother's death was an "accident" suggests that, distraught over the publisher's rape of her daughter, she killed herself.

The large stomach scar is the Cesarean section by which the incestuous child Julia was born. The novel that the protagonist writes is the story of this incestuous rape.

The detective writer has found her biggest mystery yet -- a family mystery, and her publisher is the villain. This is why he tries to undermine her confidence about the book and suggests that it shouldn't be published.

If it were, then the story of his incestuous villainy would be known. The way the protagonist smiles so warmly at Julia when she sees her at the office is meant to display her warmly realizing how she resembles her mother Julie in some ways although much younger and not yet sexualized.

And the final scene of the waving is meant to further identify the mother with her child. In this way, the movie employs the same family secret as "Chinatown.

I first saw this film on HBO in and now own it. HBO and others continue to run it. It is a very mature, engrossing film with a metaphorical plot.

From the opening credits it immediately begs for your attention and once it has you in its grasp, you will find you cannot escape.

A successful author of a series of mystery novels but bored with her work, Charlotte Rampling goes to the south of France for looking for fresh ideas for a new book, begins down one avenue and then changes direction.

The location, photography and performances are exceptional as is the set design, replete with elegant simplicity that flows past your eyes.

You are drawn in so well you can taste the wine and feel the pool's water flowing around you. The actors, especially Rampling and the actress who plays Julie, are impeccable.

The Swimming Pool is a totally wonderful experience. Dive in! I first saw the trailer for this film at Fredddy vs.

Jason back in '03 and me and my friend were in hysterics at how lame it looked. He recently bought me the film on DVD as a 'joke' birthday present but ironically now sits proudly on my DVD shelf as one of my favourite films.

Although very slow moving it is beautifully shot and the soundtrack is fantastic. The characters are brilliant and the acting is flawless.

It gets more complex in the second half and is quite difficult to understand the twists in the plot. It draws you in right from the very start and doesn't let you go until the end.

In London, the successful and weird middle-age writer of police and mystery novels Sarah Morton Charlotte Rampling is passing through a phase of lack of inspiration.

Her publisher John Bosload Charles Dance invites her to spend some summertime days in his house in a small town in France, where there is inclusive a swimming pool.

He also suggests her to make the experience of writing about a different theme. Sarah accepts the invitation and travels to the wonderful and lonely place.

A few days later, she starts writing again, but her quiet rest is shaken with the unexpected arrival of Julie Ludivine Sagnier , the sexy daughter of John.

From that moment on, reality and dream blends in Sarah's world. I did not dislike this movie, but I believe it is indeed an excellent idea, wasted in a very disappointing conclusion.

There are many unexplained subplots and the story is completely open to the most different interpretations, and of course I have mine.

Europeans usually like this type of story, but in this situation, the film does not give necessary hints about the real intention of the plot, and the viewer can speculate only.

Charlotte Rampling has a magnificent interpretation, Ludivine Sagnier has a very erotic performance, but to become an excellent film, many clarifications are missing.

My vote is seven. One of the best movies ever. The French sure are the best movie makers. Beautiful throughout with superb acting and an amazing picture.

Don't know why some of my literate friends who are reputed movie aficionados thoroughly trash this most entertaining movie. I for one, however, very much enjoyed Messr.

Ozon's subtle, twisting and metaphorical story-telling. I shall not even attempt to rehash what scores of erudite reviewers have already delineated regarding the unfolding of the plot line.

Was young Julie merely a "Sarah alter ego", a fictitious character that she fantasized as herself if she had the guts?

Point is, everyone is right! Each of the beautifully outlined pet theories posted on this web site makes this tale that much more interesting, as if Ozon planned it this way, just so he could elicit all these different reactions to his plot line.

The camera work subtly raised questions throughout the movie. You can go on and on about a multitude of other instances and still leave some out.

So much the better for film fans who enjoy the triumph of substance over form! The two principals, Charlotte Rampling and Ludivine Sagnier acquitted themselves ever so deftly in their respective roles.

This is my first glimpse of Mlle. Sagnier, but I hope it's not my last as she indeed could become an even finer actress if she continues to find meaty roles such as this.

In my opinion, she exuded a lot of depth and emotion for a young actress. Finally, Philippe Rombi's soundtrack and recurring theme provided the perfect audio seasoning of poignancy and subtlety.

So, see it for yourself often! By the way, does this film remind anyone of Antonioni's "Blow Up", in terms of a "now you see me, now you don't" scenario and what does everybody make of it?

Was Ozon influenced in some small way by this earlier film? Sherazade 6 March Okay, I hate to give so much away but after watching the film, there's no other way to review in a way that it would make sense to the people reading the review other than to tell it like it is.

Nothing is real except for Charlotte Rampling's character and her publisher. The daughter character is also real but you don't see the real person until the end of the film.

When Charlotte goes on the vacation to the French countryside to clear her head, she actually enters into the world of the characters she is about to write about in her new book.

That said, this was a very bold film. The soft porn elements were very strong but the acting on the part of Charlotte Rampling was stronger.

She is a great actress of her generation and should be celebrated for such a powerful performance. I applaud her for her nude scenes and her honest portrayal of a character we see too less of in Hollywood, the sexy older woman who is not threatened by us young-ins!

The film is about imagination and how the author uses it to solve her real life issues. My favourite line from the film is when Charlotte says: "Hmph!

Shallow End tedg 31 October You really don't want to read this unless you have seen it. I'm attracted to this specific sort of thing, a deal where what you see is conflated with its own generation, with the writer in the thing.

Its elaborated here by two devices. One is that you don't discover until the very last few minutes that anything like this is up, forcing you to retrospectively go back and reinvent.

Secondly, when you do, you discover a rather complex portrait of a woman. That first. What we have is a woman alone. She's had an affair with her publisher, which probably resulted in her success as a mystery writer.

At least initially. She's been pregnant by him and had a late abortion. It was a girl. Now she is menopausal, alone and in a terminal rut with her silly detective series.

She's lost her faith. He is already courting new talent and brushes her off, sending her to his house in France, the house she would own as his wife had he stuck with his promise.

She feels like a tramp now. So what we see are her lost and losing selves embodied in an extremely promiscuous girl. She's "the daughter," and brings home a different guy each night, all repellent except the one man who is attractive and charming.

But he rebuffs her, so she kills him. And to protect THAT has sex with another undesirable. And to protect THAT, writes her book, within which has the recovery of the lost book of "the daughter's" mother.

So far so good. But the execution of this in cinematic terms was a mess. There is a scene where "the daughter" claims the writer as her mother, but its disconnected.

There's the scene where the older woman lies nude on the younger's bed and has unwanted sex. These only overlay after the fact when you work it out.

The real fulcrum is supposed to be the pool; I suppose the director felt he could command the images better than he has.

The metaphor I suppose is languid fluid realities, submarine things uncovered. We have identical shots of the two women swimming.

We have a signature shot which has the camera moving up the reclining swimsuited young body to the head, lingering over the sensuous zones, and at the head we discover this attractive man standing over.

Masturbation ensues. The same shot is repeated with our older woman who we now discover has her own sensual body.

Until then we've only seen this woman in frumpy clothes. The shot is identical but this time in the young man's place is the old gardener, obviously the real replacing the fantasy.

After the fantasy romance is killed, she does have sex with this gardener. The shot is replicated again, but with the two women this time. You can see this director's visual ambitions, and how they squeak against the boundaries of his capabilities.

Oh how Sascha Vierny would have mastered this pool, this water, this skin. Instead we get something intended to be deep, but can only be shallow.

Ted's Evaluation -- 2 of 3: Has some interesting elements. A successful crime fiction author, Sarah, is suffering from writer's block and needing solitude and a change of scene her publisher suggests she take a spring break in his holiday house in the Luberon part of France, which she does and it seems to be working.

Then the publisher's sexpot daughter, Julie, shows up unexpectedly and Sarah finds her presence, let alone pertness and promiscuity, a major irritation.

To this point it is all perfectly believable, but then things start to become a little strange and, from a script point of view, rather ad hoc.

For example, no explanation is given for Sarah finding one of Julie's bikini bottoms in the garden and why it should result in Sarah rummaging through Julie's belongings.

The murder seems clumsy and pointless and would leave a lot more evidence at the scene than that shown and the disposal of the body rather pedestrian not that more inventive methods in real life have prevented detection.

The ambiguity presented at the end is designed to make us ponder whether it all really happened or was just a real-time fantasy with the eponymously titled book the result, unfortunately it rather draws attention to the script's shortcomings instead.

On the plus side, the casting is good, it is nicely filmed and edited, the location is very pleasant and those who like the poster shouldn't be disappointed.

A long way to go ras77 4 August This film is beautifully staged and acted, with some good dramatic tension and lovely scenery.

Unfortunately, the payoff falls a little flat. It's kind of like a really long joke with a punchline that's not quite funny enough to justify having sat through the telling.

An error has occured. Please try again. Movies I Have Seen In The best of Summer movies. Cinema Francais - Bought. The second and third repeats will get progressively tougher.

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