Freddy_Levit

Wallace Shawn and Andre Gregory play Wallace Shawn and Andre Gregory. Yes, as the story goes, these two old friends caught up much like in the film after Andre's return from an awakening journey of life through Asia and during dinner discussed philosophy, life/death and existentialism. They were so involved, moved and amused by their very deep and meaningful conversation that they both agreed to turn their night into a film. And not once during the film do you get the feeling that they were trying to remember what they said the night they had the original conversation. It just came naturally, because their ideas and opinions were fueled with passion and conviction. Their enthusiasm translated through their eyes, facial expressions and fidgety hands. I was so embroiled in their conversation, that the thought of sitting in a restaurant for two hours never crossed my mind once. I've always been compelled by films that are confined to a single set, a claustrophobic surrounding, whether it be one room, one house or one place. These films enable better character development because of the intimacy of the setting. Alfred Hitchcock, Roman Polanski and Sidney Lumet knew the great power of single sets and understood that great stories are never driven by visuals, special effects or mindless mayhem but by character(s) - everything else serves the character and not vice versa. If you were not taken, convinced or fascinated by a character - if you didn't care - the film has failed. And while visuals, attractive actors, special effects and over-the-top action adds value to a film, it however does not define a film. That is why those films which possess all attributes other than interesting characters have shelf lives shorter than the time it took to make them. The reason why Die Hard succeeded over Rambo is because we cared, loved and really got to know John McClane.

What is most fascinating about 'My Dinner With Andre' is that it ONLY has characters. There is no explosions, swearing, sex, CGI and none of the garbage that has attracted brainless movie goers for generations, but rather an intimate story of two friends catching up and talking about lost time. Not only is this film a character study, but the single-setting idea was taken a step further because for two hours while your whole notion of the outside world is erased you do not see a single house nor a single room, but a single table. Your only visual compass are knives, forks, plates and close ups of Wallace and Andre. The pure magic of 'My Dinner With Andre' is its ability to make us feel like we are sitting at the dinner table with them, contributing to the ideas and thoughts of the conversation. Every time there is a surprise twist or revelation we feel as proud and passionate as they are.

The greatest gift the film bestows upon its viewers is its remarkable storytelling. The script never bores. Andre, who does most of the talking, always has our attention. Even when we don't quite understand what he is saying, his obsessive eagerness to tell us something translates through his body and we are happy to listen and try to make sense of everything. Both men have an incredible grasp of language (both are real Theatre producers) and never were there any awkward or dull words spoken. Every word seemed to be dependent on the other in their philosophical debate. It is because this film is completely dialog driven and lacks visual interpretation that our minds create our own. That is the colossal power of the film. You look at the too men and their table but your mind is always elsewhere trying to make sense of their feelings and insights. In other words, you are there but you aren't. Their words feed our brains with rich and poignant imagery, yet no other location photography, sets or computer generated graphics are required and no violence is employed for cheap attention tactics.

'My Dinner With Andre' can be taken on many levels. It reminds you of how great it was to have a friend you could spend hours with talking about philosophy, science or whatever have you for hours on end and be completely oblivious to lost time. In that respect it is a timeless story of friendship. Another interesting dimension to the film is how Wallace represents the audience in his reluctance to accept all of Andre's philosophical views. We voice our concerns, opinions and disagreements through him. However Andre counters all our remarks and criticisms with confidence of a prophet. The film centers on Andre and his five year absence from home and theater. His travels to Tibet and India came as work/life anxieties took their toll on his life characterized by 'writer's bloc' to the point where his grasp on life was questionable. His experiences in Asia enlightened him to life's true reality and those theories, questions, ideas and truths that awoke him from his robotic death and taxes existence of Western Culture are the film's focus. You will find yourself mesmerized by opposing views which in the end combine into a single understanding between friends, an ending that will have you thinking and reflecting for hours, with ample conversation material with those who were fortunate to watch this masterpiece with you.

I can talk about this film until the saliva in your mouth dries and your tongue grows a daisy. This film is just so deep and masterfully realized. Nothing prepared me for it's perfect evaluation of all the thoughts, anxieties and philosophical ideas i've ever had. Whether you agree with what is said at the table or not, you will no doubt walk away from it as "Gymnopedie for Piano" plays in the background, thinking about what a great night you've just had with two very intelligent and interesting people. And you will never forget it!

Some of my fondest of memories as a child was sitting in the library and immersing myself into the Ligne Claire reality of George Remi's "The Adventures Of Tintin". They had such a timeless quality and vision about them, just like the period in which they were set. The colors were so vibrant and illustrations were clearly defined. Herge's Illustrations themselves defined a new standard of a comic 'universal language' that spoke more words than any bubble text that was added on. You knew who the bad guys, the good guys and the stereotypes were. You knew when characters were nervous, angry, happy, confident, stupid, clumsy and surprised. You even knew when they were sweating! The attention to emotion and narration was brilliant. While reading his albums (24 in total) I felt like I was in a movie. The characters were all strange, mysterious, suspicious and one dimensional except for the protagonist (Tintin) and the world was as simple as black and white/good and evil. The stories were always bizarre but world weary and highly adventurous at the same time. I couldn't stop reading them. Not once was I aware I was reading a comic book. The pace builds momentum and doesn't stop. Herge's greatest gift was his ability to effortlessly make a transition in mood and tone. His illustrations evoke shades of Film-Noir when they're serious, 'Charlie Chaplin' absurdity when they're comical and a 'Sherlock Holmes/Arsene Lupin' mystery inspired approach in their narrative. It is the combination of these three key genres that made Tintin and all the films, books and comics it inspired so special. One of the earliest of these was perhaps the greatest of these, "L'Homme de Rio" ("That Man From Rio"), a Jean Paul Belmondo vehicle hugely influenced by Herge's "The Broken Ear" with subtle footnotes to "The Calculus Affair", "The Seven Crystal Balls" and "The Secret Of The Unicorn".

When I came upon "That Man From Rio", I was searching the world over for adventure films. Actually, my obsession all began with Indiana Jones. I wanted to find films that inspired the trilogy. I knew that Indy was a homage – a kudos to all the adventure serials, film-noirs, pulp fiction novels and adventure comics of the 1930s, 40s and 50s (one of them was obviously Tintin). I came upon many. It is said that "The Secret Of The Incas" starring Charlton Heston was Indy's blueprint, but although the film did possess all that which inspired the look and character of Indy, it didn't quite inspire the feel and ambiance of it. Indiana Jones had that vintage high adventure atmosphere to it that I instantly recognized in Herge's bibliography – the same charm, comedy, mystery, suspense, pace and thirst for adventure. These were all qualities that ignited the child in all of us. But surely, due to Tintin's international acclaim and success (a franchise that sold over 200 million copies and translated into 60 languages) there must have been at least one film that captured it's narrative style between its very conception in the late 30s and the creation of Indiana Jones in the 80s. For 50 years in between there must have been somebody who loved Tintin as much as I and decided to do something about it. I came to the harrowing conclusion that nobody in America, up until the likes of Steven Spielberg had ever made a movie in the footsteps of Herge. Either it didn't reach a wide enough audience in America or Hollywood was too embroiled in the Cold War to be concerned with a good old fashioned adventure. So I looked to France and Belgium, where for almost 70 years (and at least 4 generations) later Tintin has stood the test of time and is as popular, inspiring and loved TODAY as it ever was. I was reminded of something I always knew – that the French have always been the romantics and the lovers of adventure and mystery. The novels by Jules Verne, Maurice Leblanc and Alexander Dumas, The diaries, documentaries and books by marine explorer Jacques Costeau, The suspense master works of Henri Georges Clouzot AND The enduring comic book creations of E.P. Jacobs, Albert Uderzo and Herge have fascinated generations of nations all around the world to this very day. It is in this way that I found out about this beautiful film called "That Man From Rio". I don't want to even spoil an action scene let alone a plot point, because everything about this film is kinetic energy. It never stops. The action is larger than life. The story is larger than life. The romance is every man's fantasy. To even whisper it's similarity to Tintin would be blasphemous, but you will recognize them as the film takes you for a ride and it will put a smile on your face. 'Jean Paul Belmondo' is and was (especially in his prime) France's most enduring and popular actor and it doesn't surprise me why. His ability for comedy and action has inspired actors such as Jackie Chan in their careers. He's always jumping, running, falling, riding, racing, shooting, punching, kicking, yelling, laughing and clinging for his life and no film better utilizes his gift than this one. The scenario he is put in will remind you of Hitchcock's North By Northwest as he travels the world in pursuit of a girl he loves dearly. From start to finish you are on a roller-coaster, hearing the sounds and seeing the sights. It's fantastic and truly a perfectly crafted vintage adventure film. If there was a mediator between Herge's Tintin and Spielberg's Indiana Jones, look no further than Philippe de Broca's "That Man From Rio". Its fluid ability to manipulate its audience with suspense, drama, comedy and action is brilliant. You will never see anything coming! If you are similar to me in that you love your adventure film, find this film right now and watch it.