By Fabio Vighi
What can movie let us know approximately leisure and sexual distinction? Can cinematic fiction be extra genuine than fact? Fabio Vighi seems to be at Jacques Lacans concept of sexuality alongside a few of the best-known works of ecu cinema, together with motion pictures via Fellini, Truffaut, Antonioni and Bergman.
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Example text
As Jim (Henri Serre) tells Catherine, ‘you want to invent love from the beginning’ – which essentially implies contemplating the sustainability of a ménage à trois. However, it seems to me that Jules et Jim is less about experimenting with the possibility of alternative love ethics than the refusal to confront the intrinsic impossibility for the couple to attain full autonomy. What if the true trauma voiced by the film does not concern the failure of the experiment as such (a love triangle where two friends end up sharing the same woman and remain best friends) but rather the disavowed awareness that 1 + 1 = 3?
As Truffaut himself explicitly stated (see Gillain 2005: 82; Ingram and Duncan 2004: 64), the premise to his film regards the potential redefinition of love ethics on the basis of an understanding of the relationship that might be liberated from possessiveness and jealousy. As Jim (Henri Serre) tells Catherine, ‘you want to invent love from the beginning’ – which essentially implies contemplating the sustainability of a ménage à trois. However, it seems to me that Jules et Jim is less about experimenting with the possibility of alternative love ethics than the refusal to confront the intrinsic impossibility for the couple to attain full autonomy.
In a way reminiscent of Jacques Demy’s The Young Girls of Rochefort (Les demoiselles de Rochefort, 1967), the characters in Resnais’ film suddenly burst into singing lines of well-known French popular songs to convey their deepest emotions with regard to their troubles with the other sex. The non-existence of the sexual relationship, in other words, is magically sublimated into music. In what is perhaps the most significant of these musical breaks, Claude (Pierre Arditi) rehearses Serge Gainsbourg’s classic ‘Je Suis Venu Te Dire Que Je M’en Vais’, determined as he is to leave his wife Odile (Sabine Azéma).
Sexual Difference in European Cinema: The Curse of Enjoyment by Fabio Vighi
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