513 Summer Hours

[Grand Illusion]

Critics agree: This is a movie!

[Michael]

Critics agree: This is a movie!

I'm not getting this.

[Grand Illusion]

An unfortunate way to start off the new page. It was in reference to the discussion on the last page.

[Jack Phillips]

Just revisited this film - what a gentle masterpiece. Absolutely a living, breathing work to keep coming back to. I haven't seen any other films by Assayas; can anyone recommend other works of his with similar qualities? The more recent, sourcable ones (Boarding Gate, Demonlover) seem more edgy than Renoir.

Les destinées sentimentales. It's a period film, however, so perhaps Late August, Early September is exactly what you're looking for.

[zedz]

Just revisited this film - what a gentle masterpiece. Absolutely a living, breathing work to keep coming back to. I haven't seen any other films by Assayas; can anyone recommend other works of his with similar qualities? The more recent, sourcable ones (Boarding Gate, Demonlover) seem more edgy than Renoir.

Les destinées sentimentales. It's a period film, however, so perhaps Late August, Early September is exactly what you're looking for.

And L'eau froide, though that gets pretty dark. I'd actually suggest Irma Vep as a useful bridge between the two poles of his work, as it has a detailed and warm sense of community / family but also dips into the dark machinations of the business world that fuel his fragmentary globalization thrillers. Plus it has Maggie Cheung prowling around in a catsuit.

[Anthony]

Just revisited this film - what a gentle masterpiece. Absolutely a living, breathing work to keep coming back to. I haven't seen any other films by Assayas; can anyone recommend other works of his with similar qualities?

Yeah, try "Irma Vep." It is another very interesting/captivating film made from Mr. Assayas back in 1997.

[perkizitore]

Beaver

[cdnchris]

DVD and Blu-ray

[foggy eyes]

DVD and Blu-ray

Blu-ray caps look worse than the DVD ones to me! Surely that's not intentional (or even remotely accurate).

[cdnchris]

I do resize them for bandwidth reasons, but even then I actually can't see what you mean: Unless I'm missing something I'd still take the Blu over the DVD. At any rate, here's some high-res grabs:

Grab1
Grab2
Grab3

[foggy eyes]

At any rate, here's some high-res grabs

ok, now I see the difference!

[swo17]

This film really clicked for me on the second viewing. I can actually relate to the subject matter fairly well, as my father-in-law is an antiques dealer with an enormous collection, and he in fact nearly died last year. I think zedz got it just right when he brought up the lack of melodramatic resolutions. In particular, the plot thread involving the "glass vase with the bubbles" trades out a well-worn episode of misunderstanding/conflict/resolution for a really nice, quiet moment later in the museum. That museum scene really is key I think in relating the idea of objects having souls, and a life dependent on where they reside. The three roles that an object can take on are well explored here, and even embodied in the three siblings: art (Binoche), commodity (Renier), and a connection to the past (Berling). I also really like the way the new generation is depicted in the film. I think they simultaneously come off as crass, venerating, and enjoying life in much the same way as their ancestors did.

[Svevan]

Richly agreed, Swo. Here's some scattered thoughts.

That museum scene really is key I think in relating the idea of objects having souls, and a life dependent on where they reside.

Though I agree with you, I think this point is nuanced by the film and is perhaps more ambiguous; in fact, the way that the movie contradicts itself on so many different points is part of its allure. I don't think the museum scene is in the film to present us with the single appropriate response to these beautiful art objects, especially because Berling and his wife seem to have different views: she thinks more people will get to see and appreciate them in the museum. Both of them think the vases and desks and chairs are essentially entombed in the museum, but Berling's wife seems to view this as a necessary process. This correlates to the death of their mother, who is only available to them in the objects she left, and the one object that now represents her: her gravestone.

The museum scene is most forcefully contradicted by the final scene of the party at the house (again, preceded by a visit from the old housekeeper who visits the house like she is visiting a grave). The house has none of the objects in it, yet it is still a repository for the granddaughter's memories. That it is being sold is both tragic and hopeful; the twin emotions of the film.

We are more sympathetic to Berling throughout the film, but Binoche and Renier are not "wrong" necessarily to want to sell everything - especially Binoche, who keeps things for sentimental value (one of my earlier posts in this thread talks about the three levels of "value" I see in the film).

Your reading of the three lead characters feels accurate to me; I also think that all three children as a whole represent globalization, as Binoche lives and works in America, the youngest brother lives and works in China, and the oldest writes books and travels a fair amount, though he is the most grounded of the three.

[swo17]

Though I agree with you, I think this point is nuanced by the film and is perhaps more ambiguous; in fact, the way that the movie contradicts itself on so many different points is part of its allure.

You're right, of course. I was trying to keep my thoughts brief, and I only mentioned what I did of that scene because that was one element of the film that really stood out to me. Interestingly though, despite the opinion expressed that the museum is where art goes to die, I thought the art looked the most ravishing while exhibited there, as opposed to in the home. I suppose in the museum, all of the emotional attachments and baggage of the owners are left behind, allowing a piece to stand on its own merits. Also, once in the museum, the art is no longer his or hers, but ours. In the home, a piece can have life, but in the museum, it's almost as though it becomes immortal.

[Svevan]

This:

In the home, a piece can have life, but in the museum, it's almost as though it becomes immortal.

and this:

I think [the kids] simultaneously come off as crass, venerating, and enjoying life in much the same way as their ancestors did.

evoke to me the essence of this film: the dichotomies, the dualities, the both/ands, the contradictions. I've never seen a film so intelligently express how our love for something (or someone) and the necessity of saying goodbye to it are inseparable. Instead of portraying goodbyes as emotionally wrenching drama, he shows them as bittersweet transformations. A beloved item becomes a museum piece, a child becomes an adult, a parent dies, and each of these processes is both difficult and redeeming.

[Particle Zoo]

This:

In the home, a piece can have life, but in the museum, it's almost as though it becomes immortal.

and this:

I think [the kids] simultaneously come off as crass, venerating, and enjoying life in much the same way as their ancestors did.

evoke to me the essence of this film: the dichotomies, the dualities, the both/ands, the contradictions. I've never seen a film so intelligently express how our love for something (or someone) and the necessity of saying goodbye to it are inseparable. Instead of portraying goodbyes as emotionally wrenching drama, he shows them as bittersweet transformations. A beloved item becomes a museum piece, a child becomes an adult, a parent dies, and each of these processes is both difficult and redeeming.

Thanks to both of you, for very intelligent insights into a film that has really grown on me. My father died recently and I have found the experience to be far more of a 'bittersweet transformation' than I would believed before it happened.
The film beautifully expresses the need to let go of things and people, pardoxically in order to to better hold on to them in memory.

[dad1153]

Watched "Summer Hours" over the weekend on Sundance Channel. Very Ozu-esque experience (minus Ozu-san's mise-en-scene; writer/director Oliver Assayas has his own bag of subtle visual tricks to play with) that constantly betrayed my expectations of drama/fighting between the elder siblings over the sale/division of their elder mother's state (Edith Scott is radiant in her matriarch role despite limited screen time). I was ready for Charles Berling's Frédéric to explode or go off on his siblings (like Timothy Spall at the end of Mike Leigh's "Secrets and Lies") but seeing that rage kept under check and dissolve into repressed acceptance of his sibling's decisions became an equally-acceptable substitute. Binoche plays selfish profesional extremely well (love the actress but I really wanted to bitch-slap Adrienne ) and the rest of the Frech thesps do yeowman work with material tailor-made to easily fall into Cesar bait terrain. Other than the ending feeling kind-of flat to me ('that's it?' I said outloud... yes, I've been saying that a lot lately!) "Summer Hours" is a pleasant exercise in small moments brought forth at the expense of tried-and-true dramatic techniques. Even though we never see Paul Berthier his presence hangs over the primary location and every moment in this movie like Harry Lime's does over "The Third Man" (minus the you-know-what surprise midway through that movie).

[Amazing Goose]

i just watched this and was disappointingly underwhelmed by it. it seemed rather meandering and thinner than i was anticipating.

but the discussion and insights here have helped me to understand and appreciate in the ways that i wanted to. which means that, while i was looking forward to removing one film from my wish list, i will now likely be picking it up during the bn sale next week. which is why i came to this forum in the first place.
thanks, swo.

[dad1153]

You're welcome HAL.

[HistoryProf]

I watched this last night and was quietly impressed with every minute of the film. Snagged it from the local library, but sadly the 2nd disc w/ the extras was missing so this is going on the B&N sale list. I was amazed at how my own expectations for something dramatic to happen kept me rapt with tension as they walked through the house appraising things, the kids party, the housekeeper being dropped off at home...basically every scene after the opening birthday party. I kept waiting for something BAD to happen...and then it ended. Every time I thought I knew something was going to happen that would propel the story into melodrama and yelling and tears it just....didn't. I'm glad to see discussion here that reinforces my impressions of Assayas's skill at telling this story so beautifully without resorting to false drama. Losing a parent is an awful process and this may be the most genuine telling of how that process goes for most of us. Granted, I didn't have to deal with millions in art, but we sold the house and all that and not a minute of it was fun, but it wasn't terribly overwrought either. There's a serenity to this film that caught me off guard that I still can't quite pin down - but I went from thinking about 1/3 of the way in "well at least this is one I don't feel compelled to buy" to "dammit, I HAVE to buy this and watch it over and over!" by the end. And then I woke up this morning thinking about the scene in the museum and trying to decide where I sat with its meaning and knew I had to watch it again. *shakes fist at the world*

But I think i want to watch the documentary from the extra disc I don't have first...can anyone speak to its quality and/or usefulness in appreciating the film?

[zedz]

The documentary is terrific, and it teases out a lot of the issues that were subtly raised in the film. If you liked the film I'm sure you'll get a lot out of it. It also goes into some detail about the process by which Assayas got to work with the Musee d'Orsay collections.

[HistoryProf]

Of course it's terrific...as if they would let me off the hook and not put something on there that forces me to buy it. I have to say that this and Secret of the Grain are the two biggest contemporary surprises for me since the advent of the blu ray era at Criterion. Both are films whose descriptions in no way suggest the power and subtlety of the filmmaking - never mind how profoundly moving they are. And like Secret of the Grain, I wanted to rewatch this almost immediately...which is very rare for me.

[tachyonEvan]

A couple people summed up a lot of my thoughts far more eloquently than I ever could, but this was such a powerful, subtle movie. The ending left me quite sad, however. The scene with Eloise was heartbreaking – she was sort of left out of the discussions and the siblings didn’t seem to really consider her (until she is given the vase at the end), so not much was made of her having to “move on,” but she does have to nonetheless. Then the kids came in and I was immediately appalled at their behavior, but as the scene progressed, I started to appreciate more how they’re re-appropriating the house to their own generation and own experiences one last time.

Also, it was mentioned before, but I love how little was “resolved” – the potential incest, the “kind of” a boyfriend, the disappearing vase, etc. So much is just left to settle without discussion, explanation, or conflict. I thought it worked very well.

[tachyonEvan]

I'm sure it's not just me, but man, I haven't really stopped thinking about this movie since I saw it (back in July). For being such a simple movie (I'm not sure that I could convince any of my friends to see it if I tried to describe it), I can't wait to see it again. Such a resonant film.

[LavaLamp]

Summer Hours is a masterpiece. I first saw it several years back, and since then have made a point of watching it at least once a year. It's a film that, at least for me, doesn't lose any of it's strength & appeal over repeated viewings. One of SH's many strengths are the interior scenes of the house & surrounding natural scenery, which are visually stunning.

Appreciated the themes of: the importance of family & how globalization is breaking apart the family structure; importance of & obligation to the past; coping with loss; the ending of one generation & the beginning of the next.

The passage of time re: the seasons was also brilliantly handled: The mother's birthday party at the beginning took place during the Summer, then it was late Fall/Winter after the mother passed & the house was put up for sale; Lastly, the grandaughter's final house party with her friends took place the following Summer - so, everything came full circle.

Interesting to consider SH in terms of Assayas' previous film dealing with those coping with loss: Late August, Early September (1998). Though they're two completely different types of films, LAES is great in it's own way, and definitely deserves a better release than it's gotten so far (the DVD that I saw was non-anamorphic, and IIRC it's OOP anyway). Though many may not think it's an important enough film, I actually think this deserves the Criterion treatment...