The first question one must ask upon coming across this title is "what?" The second question, surely, is "how can this possibly be sustained for the entirety of a full-length feature?" The answer is more common and less interesting, and less sensational, than you'd think from the outside looking in. Despite the premise, 'Max mon amour' isn't a sex comedy centered around bestiality. There is comedy, yes, and a facet of just such a taboo, but by and large the picture carries elements that are decidedly less remarkable. This isn't to say that the movie is inherently worse off just because it dallies with such story ideas - an open secret that a couple is keeping, and in particular the open secret of a lover or two outside their marriage; the hijinks of a highly excitable animal living within a home (think 'Beethoven' for comparison); the tension that arises between the central characters based on these ideas. Only, if you think based on a one-line synopsis that the picture is going to be something extraordinary, it really isn't. And for that matter, it's more of a comedy-drama, lightly exploring what such a scenario might earnestly look like in real life; some scenes are more farcical, others are more serious. For all that, this is quite enjoyable, even if it perhaps isn't anything one needs to go out of their way to see.
For what it's worth, this is solidly made. The screenplay whipped up between filmmaker Nagisa Oshima and co-writer Jean-Claude Carrière is curious, but refreshingly earnest in its storytelling even at its most ridiculous. Oshima's direction is commendably strong, and the cinematography of Raoul Coutard; the production design and art direction are splendid. There are tawdry notions dancing on the edge of racism (note a childish use of blackface at one point); the more ponderous beats surrounding the title character bring topics to the surface of animals' emotional intelligence, health, and welfare, but these are not specifically examined with major depth. But still, at its heart this is a feature that broaches its subject matter with total sincerity, to the point that its characters, dialogue, scene writing, and overall narrative are just as real and believable as though in most any title. This is unquestionably reflected in the acting, with performances from all - not least chief stars Charlotte Rampling and Anthony Higgins - that are as reliably sturdy as we would expect anywhere else. Throw in a bit of lighthearted silliness for good measure, and that's a wrap.
This is, to my surprise, a rather pleasant watch. It could have pushed boundaries and buttons, it could have been raunchy, it could have been total slapstick. What we get instead is less readily eye-catching, maybe, but more lastingly engaging and worthwhile. I don't think it achieves any big peak of storytelling at any point, and isn't so singular as to demand viewership. Yet whatever concerns one might have about the title based on the premise are laid to rest quite quickly, and the actual result is, gratifyingly, reasonably compelling as a detached but realistic approach is adopted. Oshima, Carrière, and all others involved are to be commended for defying assumptions, and for not taking the easy path. There's honest craftsmanship in every component part here, and I'm happy to say it's more deserving than it sounds when one first comes across it. Whether you're a fan of someone involved, extra curious, or just an avid cinephile, 'Max mon amour' isn't a must-see, but it really is a fine way to spend ninety minutes if you have the chance to watch.
For what it's worth, this is solidly made. The screenplay whipped up between filmmaker Nagisa Oshima and co-writer Jean-Claude Carrière is curious, but refreshingly earnest in its storytelling even at its most ridiculous. Oshima's direction is commendably strong, and the cinematography of Raoul Coutard; the production design and art direction are splendid. There are tawdry notions dancing on the edge of racism (note a childish use of blackface at one point); the more ponderous beats surrounding the title character bring topics to the surface of animals' emotional intelligence, health, and welfare, but these are not specifically examined with major depth. But still, at its heart this is a feature that broaches its subject matter with total sincerity, to the point that its characters, dialogue, scene writing, and overall narrative are just as real and believable as though in most any title. This is unquestionably reflected in the acting, with performances from all - not least chief stars Charlotte Rampling and Anthony Higgins - that are as reliably sturdy as we would expect anywhere else. Throw in a bit of lighthearted silliness for good measure, and that's a wrap.
This is, to my surprise, a rather pleasant watch. It could have pushed boundaries and buttons, it could have been raunchy, it could have been total slapstick. What we get instead is less readily eye-catching, maybe, but more lastingly engaging and worthwhile. I don't think it achieves any big peak of storytelling at any point, and isn't so singular as to demand viewership. Yet whatever concerns one might have about the title based on the premise are laid to rest quite quickly, and the actual result is, gratifyingly, reasonably compelling as a detached but realistic approach is adopted. Oshima, Carrière, and all others involved are to be commended for defying assumptions, and for not taking the easy path. There's honest craftsmanship in every component part here, and I'm happy to say it's more deserving than it sounds when one first comes across it. Whether you're a fan of someone involved, extra curious, or just an avid cinephile, 'Max mon amour' isn't a must-see, but it really is a fine way to spend ninety minutes if you have the chance to watch.