The famous painter Hokusai and his daughter O-Ei work in the same house, sometimes finishing each other’s works. She likes a dreamy guy, but some doofus guy likes her. She has a blind sister whom Hokusai never visits, and the sister takes up about half the movie. A few moments of grace (the paintings coming to life, blind girl making snow angels, geisha whose head escapes at night) enliven an ordinary story that opens awkwardly with out-of-place guitar rock then limps along to the end after the blind girl dies. Katy says the advertisements were misleading, implying that O-Ei would break free from her dad’s shadow and find her own style.
I love when an absurd movie by a foreign filmmaker starring a pile of my favorite current international actors opens in town… and plays the multiplex. Judging from the turnout, they won’t be making that mistake again.
We open with the situation I knew from the trailer: Colin Farrell and acquaintance-turned-rival John C. Reilly are at a hotel where they are given thirty days to find a compatible mate or else they’ll be turned into an animal of their choosing. They go for daily treks in the woods to shoot escaped loners – for each one they bag, they’re given an extension of their hotel stay. In desperation, each man tries to fake compatibility with a woman – Reilly gives himself nosebleeds to get paired with pretty young nosebleed-prone Jessica Barden (because these are the kinds of surface similarities that make successful couples) and Farrell acts heartless to get matched with champion hunter Angeliki Papoulia. After this fails catastrophically and she murders his brother (a dog), he escapes into the woods, later returning to forcibly turn her into an animal (he also murders double-agent maid Ariane Labed, which means he dispatches both stars of Alps).
It’s no better in the woods, as leader Lea Seydoux has even stricter rules against coupling. Unfortunately, during their covert trips to the city (where Seydoux is pretend-paired with Michael Smiley of Kill List), he and his travel companion Rachel Weisz fall in love, and she is blinded as punishment, which leads to a hilarious/horrifying finale (remember the nosebleeds).
Also at the hotel: Peep Show star Olivia Colman as the manager, Ashley Jensen (Extras) as a sad woman who fails to get Farrell to like her, and Ben Whishaw (Cloud Atlas) as the “limping man”. I’ll have to watch again – when listing islands, did someone say “Chevalier”?
Combined, [the film’s segments] add up to this cautionary tale about the way rigid governments impose their values on their citizens, and how close-minded people try to convince others (and often themselves) that their beliefs are not only the correct ones but the only ones. In the end, that sort of thinking can leave you blind to the truth that happiness can’t be regimented or regulated. And right now, that feels like a pretty timely message.
Ruiz made a series of films in the mid-1980’s involving sailors, pirates, children, islands, treasure and magic. There’s an explicit Treasure Island reference in Three Crowns of the Sailor (1983), and in between the similarly-themed City of Pirates and Manuel on the Island of Wonders, he made the movie Treasure Island, and wrote a book called In Search of Treasure Island.
As I learned from The Golden Boat, I’m not a big fan of Ruiz’s English-language films (actually Klimt was good). Treasure Island is full of fascinating work, especially when the plot comes together at the end, but while watching all I can think of are the language problems. Most actors (not Martin Landau or Anna Karina) are badly dubbed. Dialogue is imperfectly translated and conveyed, and performance styles are inconsisent – I tried to overlook it, but it’s too clunky to ignore. Little things make me think Ruiz wasn’t at the dubbing sessions (paella is pronounced “pai-YELL-ah”). And it’s cool that Jean-Pierre Leaud was cast, but distracting to hear him speak with no trace of French accent.
Ruiz’s Treasure Island isn’t an adaptation of the novel… not exactly, anyway. After a while it starts to follow the story when young Jonathan’s father dies while his seaside home is being visited by Landau (who asks to be called The Captain), then after Jonathan runs off he’s picked up by a sailing shoe salesman named Silver.
Some mutinies and mercenaries later, it comes out that this is an annual reenactment LARP, performed with a different Jim Hawkins every time. Captain Silver is the professor who invented the game, an “expert on game theory” (maybe not coincidence: when Silver gave his real name I wrote it as Omar Amiralay, which is also the name of a Syrian filmmaker who was active at the time). Jim/Jonathan sees through the ruse when he realizes during a gun battle that the fighting is fake, so he goes off alone, commandeering the ship with only Israel Hands (who soon dies) aboard. I start to lose track of the characters as the roles shift (The Dead Father returns as the ship’s doctor, for instance) – shades of the re-enactment identity-blending of The Territory. Even the narrator, who we assumed all along to be Jim/Jonathan, is revealed to be another character, who kills J/J offscreen at the end.
Jim and Helen:
Martin Landau, who dies, comes back to life, declares Jim is his son during an earthquake, and jumps out a window:
It’s fun to analyze the movie afterwards, to go through the screen shots and read reviews – maybe a less painfully-dubbed version exists in another country and will come out someday (argh, a restored print played Paris last month – the poor dubbing remains, and the movie has lost 15 minutes). Anna Karina is very good as J/J’s mom, anyway.
Karina and Helen:
Don’t think I got all the characters straight. Multiple possible captains – besides Landau we’ve got Silver (Vic Tayback of Alice Doesn’t Live Here Anymore), the French Captain (Yves Afonso, who appeared with Karina and Leaud in Made In USA), and Mr. Mendoza (Pedro Armendariz Jr. of Walker in a Yankees hat). Mendoza is obsessed with a different ship-mutiny novel, Benito Cereno by Herman Melville. There’s the doctor / Dead Father (Lou Castel, Bruno Ganz’s driver in The American Friend) and J/J’s aunt Helen (singer Sheila). Crabb (Michel Ferber) imprisons J/J, Ben Gunn shoots diamonds from a slingshot. That leaves Israel Hands (Jean-Francois Stévenin, the immortal Max in Le Pont du Nord), Squire Tim Moretti (Jeffrey Kime, the doomed Jim in The Territory), and back on shore before the adventure began, Leaud as a writer (and possibly the narrator), and the creepy Blind Man (Charles Schmitt). Jim/Jonathan himself is regular Ruiz star Melvil Poupaud, returning from City of Pirates.
The island scenes (second half of the movie) were filmed on the coast of Senegal, where Katy is now.
Back on land, The Blind Man with Karina:
Played in Cannes in 1991 alongside Yumeji, Boyz n the Hood, Hearts of Darkness, and three African films. Rumor is that Chris Marker assisted Ruiz in some way. A four-hour cut was planned, but I don’t think it was completed (nobody claims to have seen it).
Ruiz in conversation with J. Rosenbaum:
Treasure Island was a complete misunderstanding, because the money was there at the beginning and then suddenly the money was gone [not there anymore]. So I had to reduce the budget, and do it like a kind of B movie. This movie starts very strangely, with a good atmosphere, and then suddenly we are in a typical TV serial, because it was shot in continuity, so you can see the point at which the money starts to vanish.
From Michael Goddard’s book:
As [the film’s introductory] television transmission is interrupted by a power cut, we are informed that its tale of a coup d’etat, diamonds and treachery continued in Jim’s head. In other words while we may be aware that stories originate elsewhere and come to us from the outside it is we who continue them as they take possession of our imaginations; so before even introducing any of the elements of Treasure Island, the key theme of possession by prior stories that make up not only Ruiz’s film but in a more implicit way the original novel itself is already established.
As in the cartographic game in Zig-Zag this is a game played in real spaces with real lives and deaths but it is no less fictional than the novel on which it is based, while the latter is increasingly read not as fiction but rather as an instruction manual for how to operate successfully in the Treasure Island game.
For one thing, the pirates don’t look much like pirates, more like guerillas, revolutionaries. Jim’s friends the Doctor and the Squire appear without much fanfare. Other characters, like participatory academic Aunt Helen, are without an analogue in the book. The Oedipal strains of the Disney version have gone haywire, as everybody claims to be Jim’s father and nobody seems terribly concerned with treasure. But as Jim says — or, rather, as Jean-Pierre Léaud says, since we learn three quarters of the way through that he has literally run away with the script and has been telling the story from Jim’s point of view — “I didn’t see why we couldn’t just carry on without the treasure. It was an adventure anyway.”
But alas, no reconstruction is perfect: in perhaps the funniest joke in the movie, Silver, disappointed that the action has fallen so far from the book, echoes the sentiments of any reader who has ever been outraged by a movie straying from its source: he fires a machine gun into the air while shouting “It was not written! It was not written!”
Ruiz interviewed by D. Ehrenstein:
When I reread Treasure Island recently I discovered that the structure was stronger than the material. The way Stevenson tells the story is so remarkable that it could be about anything – pirates, kidnappers, whatever. We are surrounded by stories that are like houses we can enter. We play amidst these stories, sometimes being involved in two or three of them at once. In one you’re the hero, in another you’re a secondary character. These scripts are the society in which we live – if you want to be a sociologist. It’s a notion I feel more and more. This has been expressed in many ways – by Stevenson, by Orson Welles, Borges, and many others – this notion that certain stories have the structure of dreams. For those stories it’s as if the cinema had already been invented.
In the vein of recent self-consciously faux-grindhouse movies like Machete and Hobo With a Shotgun, but this one’s a giallo imitation. Obviously brings to mind Berberian Sound Studio and Amer as well, but aiming for parody through extended reference instead of jokes. I smirked at the obvious dubbing and the Udo Kier cameo, but it comes off as a bad movie parodying bad movies. Writer/directors Brooks and Kennedy also star as the editor and the inspector, respectively, with giant mustaches, and Kennedy’s inspector throws off the balance of the acting. Most everyone plays it straight – or slightly-winking parody-straight – but the Inspector goes big, a dead ringer for Matt Berry’s cocky explorer Dixon Bainbridge on The Mighty Boosh.
Film director Francesco and the inspector:
Lot of straight razors (everybody in the movie has one) and black leather gloves and woman-slapping and flashbacks. Favorite plot point: the inspector’s wife Margarit is the first to discover the bodies of movie-in-the-movie actors Claudio and Veronica, and goes blind from the sight. Everyone makes fun of the editor all the time – he was formerly a renowned editor (there is such a thing?) but sliced off his own fingers in a rage, and now works on shitty movies with his fawning assistant Bella. Either of them would be a prime suspect for the murder spree, which soon claims substitute leading man Cesare. But could top-billed Paz de la Huerta (The Nude Woman in The Limits of Control) as the editor’s wife who is barely in the first half of the movie possibly be involved? Yes!
Didn’t play the pile of extras, just gonna appreciate the surface pleasures of the movie, like the editor beginning to see reel-change marks bleed into real life, and UDO KIER (less awesome than he was in The Forbidden Room but hey, it’s still Udo Kier).
The codirectors previously collaborated on Father’s Day, a Troma movie about a revenge-seeking man named Ahab.
Stories don’t just lead into each other like in The Saragossa Manuscript – they melt and morph into each other, thanks to codirector Evan Johnson’s digital manipulations, which don’t replace Maddin’s usual bag of tricks, but join the choppy editing and texture fetish and everything else. Some of his early movies had somnambulist rhythms, but this one is ecstatic from start to finish.
Had to watch this a couple times before I could report in.
Second time through, I noted the order of stories:
How to Take a Bath, with Louis Negin
Submarine: Blasting Jelly and Flapjacks
Starring Negin again with Ukranian Greg Hlady, panicky Alex Bisping, Andre the Giant-reminiscent Kent McQuaid, and mysteriously-appearing woodsman Cesare (Roy Dupuis of Mesrine and Screamers).
Like the men in the submarine, The Forbidden Room has an overall mood of anxiety and despair, in the sense that we are asked to grapple with its heady delirium of character trajectories and stunted arcs, all the while searching in vain for some absent center, the organizing “captain” who is supposed to pull it all together. In its endless ruptures and disconnections, The Forbidden Room brings us up short, placing us back in that capsule where the image is a form of confinement, a shortness of breath.
Cesare sets out to rescue the kidnapped Margo (Clara Furey)
Cave of the Red Wolves
with lead wolf Noel Burton, bladder slapping and boggling puzzlements!
Amnesiac Singing Flowergirl
Margo again, with mysterious necklace woman Marie Brassard (sinister Jackie from Vic + Flo Saw a Bear) and patient Pancho (Victor Andres Trelles Turgeon)
The Final Derriere
Red Wolves / Woodsmen / Submarine / Bath / Submarine
Squid Theft / Volcano Sacrifice
With Margo, squid thief Romano Orzari and Lost Generation attorney Céline Bonnier (The Far Side of the Moon)
The Forbidden Room may (or may not) be inventing narratives from thin air, but whatever history these abandoned projects might have had is completely supplanted by the present Maddin (and co-director Evan Johnson) invents for them. These stories belong to him now. The Forbidden Room may forego the hypnotically autobiographical thrust of recent efforts like My Winnipeg and Brand Upon the Brain!, but it feels no less personal for it.
Mill Seeks Gardener
With shed-sleeper Slimane Dazi and unpredictable runaway Jacques Nolot
Injured Motorcyclist at Bone Hospital
Caroline Dhavernas and Paul Ahmarani
Doctor kidnapped by skeleton insurance defrauders
Lewis Furey (Margo’s father IRL) as The Skull-Faced Man, and Eric Robidoux as the bone doctor’s long-lost brother who is also a bone doctor.
Psychiatrist and madman aboard train
Gregory Hlady again, Romano Orzari again, and Karine Vanasse (Polytechnique) as Florence LaBadie
Florence’s Inner Child
Sienna Mazzone as young Florence with crazy mother Kathia Rock
Parental Neglect / Madness / Murder / Amnesia
Bone Hospital / Insurance Defrauders
Mill / Criminal / Doctor
Volcanic Island / Squid Theft / Submarine / Bath
“I haven’t finished telling you: the forest… the snow… the convict… the birthday”
Woodsman Gathers New Allies
Kyle Gatehouse as Man With Upturned Face, Neil Napier as Man With Stones On His Feet and Victor Turgeon again as Listening Man – these are the same actors who played the Saplingjacks earlier, and again they don’t enter the cave with Cesare.
Margo and Aswang The Vampire
The Forbidden Room was shot mostly at the Centre Georges Pompidou in Paris, piecemeal, in front of a live audience, following which Maddin and Johnson artfully distressed the digital footage and added priceless intertitles. The project took advantage of whichever actors were available to it on a given day.
Elevator Man Unprepared For Wife’s Birthday Kills His Butler
All-star segment with Mathieu Amalric, Udo Kier and Amira Casar (Anatomy of Hell, Piano Tuner of Earthquakes).
[Amalric] gleefully indulges in Maddin’s pure and peerlessly florid sense of melodrama, which here becomes a mechanism for foolhardy and paranoid men to ruin their lives as they attempt to rescue, love, or murder the beautiful women who didn’t ask for their help.
Dead Butler Oedipal Mustache Flashback
Maybe my favorite segment, with Maria de Medeiros (Saddest Music in the World) as the Blind Mother and more mentions of flapjacks.
Ukranian Radio War Drama
With Stranger by the Lake star Christophe Paou as the prisoner
Mustache / Return of the Dead Father
Diplomat Memoirs of Cursed Janus-Head
Together, Maddin and Johnson have crafted a formal masterwork jolted by digital after effects, recreating the look of decaying nitrate stock, shape-shifting the image with multiple superimpositions and variegated colour fields (the general look resembling decayed two-strip Technicolor), and compositing swirling transitions that connect (or bury) one film within the other (and the other, and the other). To try and describe “what happens” in The Forbidden Room is both forbidding and beside the point, for the 130-minute film stands more as an interminable, (in)completed object on its own, like the work of one of its main influences, the French poet, novelist and playwright Raymond Roussel (from whom Maddin and Johnson borrow their technique of parenthetical asides); one comes to understand this object, and what it’s trying to accomplish, only while watching it.
Peranson’s writeup is from the Toronto Film Festival, after which nine minutes got removed from the movie. Since nobody at the festivals was able to exhaustively account for all the stories within stories, it’s impossible to track down what got lost. It seems, though, that any lost footage (and more) can be seen in the Seances.
Andreas Apergis and his fiancee Sophia Desmarais (Curling)
Night Auction Doppelganger
featuring LUG-LUG, hideous impulse incarnate!
Stealing Mother’s Laudanum
Maddin (in an essential Cinema Scope interview) on the film’s 2+ hour length:
We could have easily had a 75-minute version … but viewers that like it, we wanted to feel like we’d broken their brains, really left a physical impression on them, left them exhausted. Hopefully exhilarated and exhausted, in a good way. We wanted “too much” to still be insufficient … it would be nice if it came out in one endless ribbon, that, like John Ashbery’s poetry, you just snip off for a beginning and an end, and just ask the audience how much they want.
Dead Father / Elevator Birthday Murder Plot / Margo and Aswang / Woodsmen
Red Wolves are Dead, Rescue is Cancelled
Submarine / The Forbidden Room / Book of Climaxes
April 2022: watched the blu-ray – the ambient-morphy extras and the commentary. This included Once a Chicken, which I didn’t realize at the time is considered a short film, I thought it was more motion-posters… all overlapping images and no Louis Negin.
Guy: “I’ve long been … making movies about things I don’t know anything about and refuse to do research on.” This wasn’t shot on stage in front of an audience like I imagined, was shot “in public” in foyers and such. Each morning the actors were all put into a trance, I think I knew this. Maddin wants to go on a self-loathing party, as usual. “I think Udo is a real-life Bond villain.” Sparks wrote, recorded and delivered “The Final Derriere” in five hours. The lost movies they’re adapting-in-spirit include Allan Dwan’s 1915 The Forbidden Room, Greek musical The Fist of a Cripple, Chinese film Women Skeletons, a Blue Mountains Mystery from Australia, Murnau’s version of the Jekyll & Hyde story, and Alice Guy’s Dream Woman.
Two kids are playing while the girl’s parents (Donald Sutherland and Julie Christie) are inside. Girl drowns in a pond wearing a red jacket. Donald senses danger and rushes outside, too late. Roeg is in top form, between Walkabout and Man Who Fell to Earth, with editing that kept making me say “whoa” out loud, and this must be one of the most thrilling movie openings (and endings) ever. Wonder if this is what Trier was aiming to outdo with his own child-death opening of Antichrist.
The family is in Venice while Donald works on architectural restorations. Julie meets a blind psychic who says her dead daughter is happy, is troubled by this but wants to see the psychic again if she has contact with the daughter. Donald is experiencing spooky visions and having near-fatal accidents, while incidentally, there seems to be a murderer on the loose and the psychic tells him he’s in danger and should get out of town. The movie continues building atmosphere without much story to speak of, until Donald has a fatal encounter with the local murderer, a midget women with a red jacket like the daughter’s and a sharp knife. Predates The Shining in featuring characters who can see visions of the future but this doesn’t actually help them.
Now that I’ve seen this, I wonder if Cronenberg was attempting a grotesque parody/reference with The Brood. Original story by Daphne du Maurier (The Birds & Rebecca). Nominated for all the Baftas, winning cinematography. Blind psychic Hilary Mason later appeared in a couple Stuart Gordon movies.
Need to see again… and again.
It’s an odd feeling, the realisation that you may have to revisit films at every stage of your life. I thought I’d “done” Don’t Look Now. I had no idea. I suppose I should have had a clue as it’s a Roeg film. It’s a kaleidoscope of meaning. I’m looking forward to seeing it again in 10 years’ time.
The same writer/director/producer/cinematographer team made Mad Detective, but this is not on the same level. Two big stars (Sammi Cheng of Infernal Affairs and My Left Eye Sees Ghosts, and Andy Lau) cruising on charisma in a mystery plot ending in romance and full of idiotic humor – not even J-To’s expert filmmaking chops can save this one.
An Exiled reference?
Lau is a freelance blind detective, but inspector Szeto Fatbo (not knowing the language, I can’t tell if that name is supposed be a joke) keeps stealing his cases (simply by following Lau out of earshot), depriving him of reward money.
Sammi has a missing friend named Minnie whom Lau promises to help find. Lau solves crimes by re-enacting them at the scene, which seems like the usual TV cop schtik but is actually kind of wonderful here. Fortunately, all criminals in this movie are fat and stupid and always use the same technique, so he catches up to most of them.
The love of Lau’s life married Fatbo after Lau went blind, but this is unimportant. Really, whatever happened to Minnie is unimportant too – after some false leads (one involves a cannibal), Sammi is injured and some people die and Sammi and Lau end up together, yay.
Here are three that’ve been hanging about for the last couple months because I haven’t felt like watching any more awful movies lately.
Seven Pounds (2008, Gabriele Muccino)
After flashing-back to the time he killed his wife and six other people because he wouldn’t stop looking at his cellphone, Will Smith lowers himself into a bathtub full of ice and jellyfish. I think he died and donated his heart to Rosario Dawson, because she wakes up seeming all sad then goes and hugs Woody Harrelson in the park. Seeing all these people cry makes me wanna cry. The director made The Pursuit of Happyness which would probably also make me wanna cry, and the writer once did an episode of Sabrina The Teenage Witch.
Blindness (2008, Fernando Meirelles)
I wasn’t expecting this jaunty Thomas Newman-sounding music (it’s not by him), nor this confused, fuzzy montage-looking filmmaking – hmmm, it’s from the guy who made City of God, so maybe I should’ve. This movie would seem to call for more straightforward direction, like Seven Pounds, which looked totally reasonable, but maybe Meirelles doesn’t know how to be straightforward. Anyway, Julianne Moore leads everyone to her house, Danny Glover has an eyepatch and tells some girl he loves her, and then Yusuke Iseya (who ruled as the white clan leader in Sukiyaki Western Django) can see again and everyone is glad. Just like the book, but blurrier.
Swing Vote (2008, Josh Stern)
Montage: two cute girls (Costner’s girlfriend[?] Paula Patton of Mirrors, and daughter Madeline Carroll of Resident Evil: Extinction) are reading mail to scruffy Kevin Costner in front of a whiteboard while media types are gathered outside his trailer. Arianna Huffington has some awkward dialogue, then there’s a Texas debate between Kelsey Grammer and Dennis Hopper staged just for Costner, but then why is Costner doing all the talking? Why, it’s a big patriotic speech to America, in which he declares himself an enemy of America for being a crappy citizen all his life. Hopper didn’t get to say a single word, and we don’t see who Costner votes for – booo! Director Stern previously wrote an Amityville sequel and directed an absolutely star-studded fantasy movie I’ve never heard of called Neverwas.
I am pleased to say that the movie never quite dives into gritty, depressing realism. It seems like it will… I mean, the second scene is set in a horrible homeless shelter with our hero lying half dead on the floor, his leg smashed after a car ran over it, being dragged unconscious into the showers by the shelter’s other miserable-looking occupants. But forty minutes later he is motoring down the Seine towing Juliette Binoche on waterskiis, surrounded by fireworks in what must’ve been one of the most exuberant film sequences of the decade. When he’s sick of it, he throws away his crutch and in the next scene his cast is gone too. The movie reminds us of real-world problems but its heroes are above them… homeless, sick, injured, lonely, hungry, fighting with each other, but never so bad that the next scene can’t fix everything.
Guy with the busted leg is Alex, resourceful homeless guy who lives on the under-construction bridge with his scary mentor Hans (who dispenses whatever drug Alex needs to sleep at night). Binoche is heartbroken Michelle who was a painter before she started going blind and ran away from her treatment. After they fall in love, Alex rebels when he hears that a search is on to find and cure Michelle, preferring her to be dependent on his care. But she finds out and gets the cure, while he inadvertently lights a guy on fire and goes to jail for a couple years. Very romantic-comedy-like, they make a date to meet on Christmas on the repaired bridge and end up together. Sounds dreadfully obvious, and it does get a bit indie-film-cutesy, but the love story and the ballsy storytelling pulled me right in… loved the movie.
Binoche was nominated for a best actress Cesar, but running against Emmanuelle Beart for La Belle noiseuse and Irene Jacob for Double Life of Veronique, the “brave young actress in awesome art film” vote was split, and the award went to elder Jeanne Moreau for a comedy I’ve never heard of. But up against a completely different group of actresses, Binoche took the European Film Award that year. Denis Lavant, also star of Carax’s Bad Blood and Denis’s Beau travail, unsurprisingly (because he’s funny-lookin’) later appeared in A Very Long Engagement. Hans was Klaus-Michael Grüber, previously a director for television, who has appeared in nothing else.
Learned some stuff on other sites. Everyone wants to talk about the movie’s huge spiraling budget as Carax, unable to use the bridge itself, built a new bridge (and the surrounding buildings!) over a lake for a movie set. And everyone wants to talk about the movie being a flop upon release in theaters. And Americans want to gripe about the nine-year-delayed release to theaters here. And everyone makes a point of mentioning that Leos Carax is a made-up name, but I only saw one mention that the character Alex is a stand-in for the director (real name Alex), who was dating Juliette Binoche while this was in production. Also found plenty of comparisons to other films:
Titanic – for the ending (“king of the world” bit on the barge), fact that it’s a super-expensive movie but plot is a simple two-person love story.
One From The Heart – for the romantic tone, but mostly for the huge, awesomely expensive artificial set created for the movie, and the subsequent damage to the director’s career after the movie was not well-received.
City Lights – blind girl, in love with a homeless man, regains her sight at the end. Clearly an influence on the story.
L’Atalante – ahh, there’s the one Carax probably had in mind. Protagonists are poor but resourceful, in love but in a rocky relationship, joined by a moody father-figure old man, end up together on a barge. Perfect.