Roseanna Arquette

  • Le Grand bleu [The Big Blue] (1988)

    Le Grand bleu [The Big Blue] (1988)

    ByChristian Sauvé Movie Review

    (On TV, January 2020) Early Luc Besson is something very different from what we’d eventually come to expect from the writer-director, and Le Grand Bleu feels more heartfelt than later entries in his filmography. It’s a story about two free divers competing against each other to set a dangerous world record. Jean-Marc Barr is nominally the lead, but most contemporary viewers will focus on Jean Reno’s performance as a brash and competitive diver. Roseanna Arquette is also featured as the love interest of the lead character, although it’s a role dictated by the unabashedly melodramatic script in which death (especially in pursuit of top performance) is seen as something desirable. The film’s visual style is vivid—as per its title, there’s rarely been another movie bathed in so much blue throughout. The ending isn’t meant to be particularly cheerful, although it does play in the film’s juvenile sensibilities. Besson intended to become a marine biologist until an accident in his late teens left him unable to dive again, and it’s this sensibility that makes Le Grand Bleu so interesting—the portrait of divers competing against each other is gripping, and it’s impossible not to notice the care with which the underwater sequences are shot. Compared to later-day Besson, Le Grand Bleu feels more romantic, more restrained, and certainly more personal than the action spectacles for whom he’d later become famous.

  • After Hours (1985)

    After Hours (1985)

    ByChristian Sauvé Movie Review

    (On Cable TV, April 2017) If anyone ever wonders what Martin Scorsese’s version of a comedy would look like, remind them of After Hours’ existence. It starts on a note familiar to countless teenage sex romp, as a young man heads to a strange woman’s apartment in hope of, well, you know. But the odds are against our hero as he loses his money, meets increasingly hostile people, suffers the worst luck imaginable and seemingly can’t manage to get himself out of trouble. It may be a comedy, but it’s shot like a horror thriller and written even more darkly. There are a number of deaths in the film, to the point where it’s the kind of film where you can comment “the murder was funnier than the suicide” and not feel like a complete psychopath. After Hours is a very strange film, compelling on the sole basis of seeing how bad things will get for the protagonist, yet repellent in content and unsatisfying in its abrupt conclusion. (To be clear: the last shot of the conclusion is just about perfect, but what leads to it seems arbitrary and far too quickly resolved to feel right.) Griffin Dunne is oddly sympathetic as the justifiably paranoid protagonist; meanwhile, Linda Fiorentino shows up in an early role as a kinky artist, Teri Garr is amusing as a vengeful waitress and Roseanna Arquette as a young woman with an entire newsstand of issues. (New York City also plays itself in its most alarming state, as a dark labyrinth in which everyone is out to get you.) If After Hours is Martin Scorsese goofing off, they maybe we should be thankful that he hasn’t made more pure comedies … or that his far funnier films usually belong to other genres.