One Hundred and One Nights
by Agnès Varda
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Actor: Henri Garcin, Julie Gayet, Marcello Mastroianni, Mathieu Demy, Michel PiccoliDirector: Agnès Varda
Cinematographer: Eric Gautier
Writer: Agnès Varda
Editor: Hugues Darmois
Producer: Dominique Vignet
DVD: Region Code 0
Audio: English (Subtitled); French (Subtitled); French (Original Language), Dolby Digital 2.0 Stereo
Format: Color, DVD, Letterboxed, NTSC, Subtitled, Widescreen
Picture Format: 1.33:1
Running Time: 101 minutes
DVD Release Date: 2000-10-03
Audience Rating: NR (Not Rated)
Studio: Fox Lorber
DVD Reviews of One Hundred and One Nights
DVD Review: Film lover's dream, movie lover's nightmare
Summary: 3 Stars
ONE HUNDRED AND ONE NIGHTS, or rather LES CENT ET UNE NUITS DE SIMON CINÉMA, ought to appeal to those steeped in French New Wave, Italian Neo-Realist, and various other genres and movements in European cinema. Produced in the hundredth anniversary year of moving pictures, give or take a month or two, it's a Euro-cinemaphile's delight. One-hundred-year-old Mr. Cinema's memory is fading, and he hires a pretty - nay, beautiful - young woman to stimulate his memory with talk of movies past.
With my rube's knowledge of European cinema I knew almost every scene in this film referenced an earlier movie or star, although I was never quite sure who or which. For instance, the beautiful Camille (Juliet Gayet) must ride a bicycle to Mr. Cinema's estate, and in one scene, for no particular reason, the bicycle is stolen. Although I've never seen it, I'm sure act was meant to remind us of Vittorio de Sica's "The Bicycle Thief." Marcello Mastroianni has a fairly substantial role in the film, too, playing `The Italian Friend' of Mr. Cinema's who wants to buy his old films. Mastroianni is dressed as a magician in a number of scenes, with an identically costumed actor behind him pulling a rabbit out of his hat. I figure - this is a guess - that this is supposed to remind us of a Fellini film, although that's about the best I can do with that. And so it goes. Old French actors and actresses like Alain Delon and Jean-Paul Belmondo have small parts. Can't place the woman in the flowing purple robes, though, who I think is sposed to be personating Death. The one person I definitely recognized was Robert de Niro, who played a scene in a swan gondola with Catherine Deneuve, although both spoke French half the time.
I'm not mocking any of this. If I were more familiar with the actors and the movies this one would probably have been a lot of fun. Without that to fall back on, though, the movie wasn't all that terrific. Camille has a boyfriend with whom she schemes to cheat the old man out of enough money to finance a movie he's making, but even that plot stream seems borrowed or reflected from an earlier source. ONE HUNDRED AND ONE NIGHTS was okay, a kind of disjointed time-killer that would probably be a lot more appropriate for a lover of European cinema.
Description of One Hundred and One Nights
Agnès Varda's giddy, goofy love letter to the cinema resembles countless movie moments that have been shaken, not stirred, and poured out as a rich, heady cocktail. The phantom of a plot finds vivacious but aging film legend Simon Cinema (Michel Piccoli in a moppy blonde wig) spending his waning days reminiscing over the history of movies with the young Camille (perky, spirited Julie Gayet) and his best friend, an unnamed matinee idol identified in the credits only as "the Italian movie star" and played with great charm by Marcello Mastroianni. Simon "becomes" the film greats under discussion (from Luis Buñuel to Gene Kelly, and in one inspired moment even Michel Piccoli himself) while dozens of real-life cinema legends stop by to pay their respects. The list of cameos is a veritable who's who of American and European cinema: Jean-Paul Belmondo, Alain Delon, Catherine Deneuve, Robert De Niro, Harrison Ford, Gina Lollobrigida, Jeanne Moreau, Hanna Schygulla, and dozens more. As intimate as A Personal Journey with Martin Scorsese Through American Cinema and as idiosyncratic as a Jean-Luc Godard cinema essay, this is film history as coffeehouse banter, adorned with film clips, inspired tributes, jokey references to classic scenes, and a score swimming in memorable musical motifs. If you're not in on the joke, Varda's tribute may seem arcane and obscure, but die-hard film lovers and cinema buffs will appreciate her affectionate whimsy as she ricochets and riffs through the legacy of film. --Sean AxmakerBestsellers in DVD
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