The allure of the unobtainable in matters of romance is the theme in this understated, talky, and generally uninteresting French film about a love triangle in the classical music world. Stephane (Auteuil, who appeared in Jean de Florette and Manon of the Spring) and Maxime (Dussollier) are longtime friends who are business partners in a violin atelier that services the instruments of world-class musicians. The solidity of their personal and professional relationship changes over lunch one afternoon when Maxime points out his new love interest, Camille (Béart, who also appeared in Manon of the Spring), a classical violinist who is a rising star, and with whom he plans to live with after he leaves his wife. Maxime also asks Stephane to repair Camille’s violin as soon as possible for her first major recording of Ravel’s sonatas that is to occur in a few weeks. As he sets about to perfect her instrument, Stephane and Camille begin meeting — whether by design or coincidence — in various places. Slowly, Camille begins to become fascinated with Stephane’s cool, stony exterior, which is a contrast to the predictable, good-natured air that Maxime exhibits. Thus, to melt Stephane’s icy resolve and to have him for her own becomes an irresistible challenge for Camille. There are several problems with this film, one being the pace of the narrative, whose plot crawls tediously along during the first half of the film before anything significant occurs. Another flaw is the overwhelming sense of claustrophobia present in the majority of the scenes. This is due to tight framing, and too many interior scenes in cramped, overcrowded spaces. Finally, there are the performances, which are so low-key and passionless for the most part that one wonders if we’re at a public library instead of at a film about a supposedly hot love triangle. I think that this one was left out in the snow too long.
This article appears in August 20 • 1993 (Cover).