BLUE IS THE WARMEST COLOR – The Review

Several films set in those teenage high school years deal with the main character’s sexual awakening, be it THE SUMMER OF 42 or TEA AND SYMPATHY, This film festival winner goes further (very far) in dealing with that awakening and a revelation for the protagonist. BLUE IS THE WARMEST COLOR is adapted from a celebrated graphic novel from Julie Maroh by screenwriter Ghalia Lacroix and director Abdellatif Kechichi. Besides reaping awards it has been generating a lot of controversy for its no-holds barred, shot in real-time love scenes (and also for its 3 hour running time). Time to set aside the press and the hype and see how it works at telling this very adult story.

BLUE is mainly the journey of Adele (Adele Exarchopoulos), a smart, sassy seventeen year-old attending high school in France. She gets along with her mother and father, enjoys school (particularly French literature) and has many friends. But something is missing. When her friends tell her that a senior boy is scoping her out, she opts to date him. Then one day, crossing the street, she is gobsmacked by the sight of a beautiful slightly older woman with short-cropped electric blue-tinted hair. After almost being struck down in traffic, she meets with her beau. When they make love, Adele feels almost nothing. Sensing this, the boy breaks off the relationship much to Adele’s consent. Soon after, a spontaneous, passionate kiss from a female friend sparks something in Adele. But the next day she is brushed off by that friend who says that it really meant nothing. Upset, Adele follows her male BFF to a local gay bar. Seeing a group of women leave, Adele follows them to a lesbian bar where she finally spots the blue-haired woman. Her name is Emma (Lea Seydoux), a painter in her third year at a fine arts college. After a few trepidatious meetings, the two fall passionately in love. Over the next few years they will finish school, start careers, and share a home as they attempt to begin a life together.

The sprawling tale rests squarely on the shoulders of the relatively unknown Exarchopoulos, who gives a compelling, heartfelt performance. Her expressive eyes tell us all what Adele is feeling as she enter this new world of passion and desire. Her gleaming smile lights up the screen when her character blossoms with new love. One moment she’s a mature budding intellectual as she pours over a classic tome, in the next she’s a goofy teen ravenously wolfing down gobs of spaghetti (they eat more pasta in this film than in three Italian-made movies). Then there’s the heartbreak. Exarchopoulos is one of the great on-screen criers. When her classmates believe that she is now gay, they swarm around her like sharks as Adele fights back those tears to deflect each accusation. But the tears do flow during a bumpy time with her new lover. Your veins would have to be filled with ice water not to be moved by her begging and pleading to be forgiven in later scenes (oh to be able to pass a big box of tissues through the screen). She’s got a strong screen partner in the sexy-tough Seydoux as the more mature artist. Her Emma truly enjoys the often precocious Adele, perhaps seeing a bit of her younger self in the wide-eyed woman. Often, she’s the too-cool diva, until Adele ignites her passionate side, first in the boudoir, and later in a harrowing angry confrontation. The intensity of their fiery performances helps make the film’s running time zip by.

That’s not to say the film couldn’t stand a bit more editing. Countless scenes of Adele working with kindergarten aged tots are adorable , but it doesn’t seem to be advancing the story of the relationship. Also the progression of time is left mostly to the viewer. Oh, she must have graduated, I wonder where she went to college. About the only way time is designated is by Emma’s changing hair colors (red now, then blonde). But a lot of the film’s main interest may come from the fact that it’s been given the deadly NC-17 rating. Well, it would have at least gotten an R because each bucket of spaghetti is followed by cartons of Marlboro cigarettes (it is France, after all). No, it’s got that rating for the real-time sex scenes involving Emma and Adele. These are definitely not for the genteel, but they do show us the all-consuming passion shared by the two. The tender embraces becoming acrobatic with the women almost devouring each other. No cut-aways and no discrete lighting (although there are candles, the bedroom seems to be illuminated by flood lights). The film makers tread the line close to being exploitive without quite crossing over. To use an old adage : “it’s essential to the plot”. The scenes that are just as compelling involve the two fully clothed when the relationship hits the rocks. The violent verbal confrontation is difficult to watch as is a clumsy, but heartfelt attempt at reconciliation. This is a compelling, often steamy, slice of life drama that’s a tad overlong and indulgent, but worth seeing for the terrific performance by the two stars. Exarchopolos and Setdoux are the heat which ensures that BLUE IS THE WARMEST COLOR.

3.5 Out of 5

BLUE IS THE WARMEST COLOR  is playing across the country and screens exclusively in the St. Louis area at Landmark’s Tivoli Theatre