Film Review: ON A MAGICAL NIGHT
© ON A MAGICAL NIGHT
This quintessentially French romantic comedy delivers just the right dose of sex, humor and, sly self-examination. It’s neither too intense nor too silly to not be entertaining. Imagine Fellini’s 8 ½ from a female point of view. And then imagine that point of view belonging to the beautiful Chiara Mastroiani, the love child of Marcello Mastroianni and Catherine Deneuve. She plays Maria, an alluring 50-ish law professor, who has just been caught having sex with one of her students. Far from being embarrassed or consumed with guilt, she seems mostly annoyed without an ounce of regret. Unfortunately, Richard (Benjamin Biolay), her husband of 20 years, does not treat it so casually. He is shattered and she is unable to convince him that it is nothing serious. Exasperated, she leaves to be alone and takes a room in a hotel across the street that faces her apartment.
© ON A MAGICAL NIGHT
The film was originally titled Room 212, which is a more apt title since that is where most of the action takes place. And there is plenty of that, almost immediately. It begins with the appearance of a young man (Richard Lacost) who announces himself as the version of Richard that she married. Obviously, this is an awkward situation which begins confrontationally with a lot of conversation involving recriminations, revelations, regrets, disappointments, and finally sex.
Contemplate that for a moment. The current Maria is having sex with her husband of 20 years ago who knows that his older self is across the street in despair. Now the Fellini-esque elements come in. Marie’s student-lover shows up, clueless. Her mother turns up, full of accusations, followed by a small troop of young handsome men, all of whom had caught Marie’s fancy in the past.
© ON A MAGICAL NIGHT
If that is not enough, Richard’s first love, his piano teacher, Irène (Camille Cottin) who seduced him as a teenager and continued their relationship until he decided to marry Maria, also shows up. (This is a hotel with doors that open by themselves without warning). This provides a divergent element as Irène tries to recapture the rapture with Richard. “Charles Aznavour” makes an odd cameo appearance as some sort of spirit guide and Maria accompanies Irène to her future/present life played by Carol Bouquet. It all adds up to an immersive self-examination for Maria to review and be honest about her marriage and what to do about it. It covers a lot of territory but does not go too deep. The questions are real and immediate. The answers will take a while longer. The characters will survive with more insight and compassion, one hopes.
© ON A MAGICAL NIGHT
