This cult film is director Leconte's tribute to both Norwegian writer Kurt Hamsun and Germany's Thomas Mann. Both told stories with minimalistic plots and nondescript settings against which amazing characterizations were revealed. Leconte's characterization of Hire is accomplished chiefly by camera angle and by passionate, brief statements made in a cold and byzantine context. Hire is a formal and precise man surrounded by sloppy busybodies. The object of Hire's devotion is a stupid girl -- any girl living on the second floor of an apartment building immediately opposite a another, five-story apartment building who leaves her bedroom window completely open night and day is either an exhibitionist, effectively inviting peeping-toms, or stupidly oblivious to her immediate surroundings. Leconte makes it clear to us that although the girl is uninhibited she does have some personal modesty, so we know she is not an exhibitionist. Her stupidity is proven by the ending of the film. We are left with Monsier Hire's devotion, which, bereft of its proper object, is, as phrased by Leconte, bloody useless.
Mary Cadney, Oklahoma City
Mary Cadney, Oklahoma City