Hey folks, Harry here... I don't know where you are on BEFORE SUNRISE, but I love the film... love it just completely. To me, its never-ending conversation about life, love, passion, laughter and the joy of discovering that person across from you... well, BEFORE SUNRISE captured that. Ordinarily, I would loathe a sequel to a film so exquisite, except that I also know that Linklater would also tend to loathe unnecessary sequels, so this one must be necessary to him. The following reviews will make your heart soar if you loved the first film, as it seems that Rick bottled intimate lightning again... I can't wait to see this sucker... Here ya go...
Harry,
Yesterday night I had the pleasure of seeing the sequel to Before Sunrise, right now titled "If Not Now."
Let me first start off by saying that I'm a big fan of the first one, it's a film I can watch no matter what mood I'm in... and that these characters are just people I could watch all day long.
The sequel does not disappoint. I actually wasn't expecting it to be what it was. Without giving too much away, the story picks up pretty much today... 9 years later. All of the questions that the first one left us with-- did they meet up 6 months later, where are they in their lives, did they find all the things they were talking about in the first one, EVERY single thing we would want to know after seeing the first one was answered, and with such depth. I haven't seen a film since Raising Victor Vargas that has drawn me in so much.
Linklater is in his element here too. It's very very simple. Where School of Rock was the perfect commercial comedy, this is the perfect art house drama. He knows where to put the camera, even if it is leaving a scene alone in a two shot. He has respect enough for the audience that he doesn't need to do anything manipulative, I mean, the dialogue is so strong that we can simply watch an unbroken 5 minute take and don't need other stylistic elements to keep us intrigued.
If you didn't like the first one, then by all means, don't go see this one. It is very talky, and true to form. That being said, those who have missed the first one... first off, you should run out and rent it, but I could see people who liked Lost In Translation having a great time with this one. Both are very rich character-driven films about people unsure of where they are in their lives... the type of thing I think everyone can relate to. Me and my girlfriend on the way home were finding that there were pieces of each character, in the things they said, that we felt but were unable to articulate like the characters did onscreen.
I don't want to go too much into detail because there are surprises with these characters along the way, and the subtle build with how these characters re-unite and where their conversation goes... that's the whole fun of it. Kudos to Ethan Hawke and Julie Delpy for being able to fall right back into those roles, and to be able to keep the dialogue so naturalistic, even though they must have done so many takes.
The photography and locations were beautiful, and can only get better (this screening was off of video). I don't think they'd change it too much just because the nature of the film is to be a slow dialogue piece, so I'm not too worried it'd get hacked up like some test screenings. I just hope it finds it's audience, because it's a very very rewarding film.
call me, Priesner
Then there is Wooderson's review which is far more spoiler filled, so be warned, though he also just loves the film, albeit with hesitations regarding the conclusion. Can't wait to see this...
Harry,
just got back from a test screening of Richard Linklater's "If Not Now," the
sequel to his exquisite romance, "Before Sunrise," which shares, along with
his "Slacker," a permanent slot on my ever-expanding list of top ten
all-time, can't live without 'em, favorite films (a disparate list of gems
ranging from "Star Wars" to "Bicycle Thief" to "Lenny" to "Singin' in the
Rain," which I mention only to give you an idea of where my cinematic tastes
lie... basically, in greatness of every genre).
Be warned, some spoilers follow...
While the tentatively-titled "If Not Now" can't help but somewhat disappoint in comparison to the perfection of "Before," it's nonetheless a beautifully-realized, emotionally affecting, and absolutely worthy follow-up, one which I'm thrilled was made so we fans of the first film have a chance to revisit its compelling, believable, and fascinating characters, Jesse and Celine, 9 years after their initial one-night romance in Vienna.
Ethan Hawke and Julie Delpy once again bring vibrancy, humanity, and passion to the characters, who re-unite in Paris when Jesse travels there for a signing of his first book. Like in "Before Sunrise" and "Slacker" (among others), Linklater demonstrates his unparalleled (okay, Rohmer does it well, too) ability to strip away all artifice and create poignant drama simply by putting the camera on his characters and letting us in on their interaction, with little or no intervention. His uncommon insight into relationships and romance, coupled with vaguely autobiographical contributions from Hawke and Delpy (e.g. Hawke's character comments on the emotional failure of his marriage), and the gradual renewal/reawakening/reacknowledgement of the characters' sublimated feelings for one another plays with all the effective tension, suspense, and promise of a masterful thriller; anyone who's ever been in love or lost in love and wondered if the other person still loves them can't help but be moved by this wonderful film.
I can't stress enough what a joy it is to watch these two characters -- now a little older, a little wiser, a little more world-weary -- rediscover each other, and how thoroughly enchanting they are together. How can you not fall in love with Julie Delpy in both "Before Sunrise" and "If Not Now?" Impossible. And were I inclined that way, Ethan Hawke's adorable too (he's never been better than when working with Linklater).
My only real let-down was the movie's conclusion, which felt somewhat abrupt and arbitrary, in comparison to the beautifully realized and bittersweet ending of "Before Sunrise," which perfectly capped Jesse and Celine's brief encounter in a manner just ambiguous enough to appeal to both cynics and optimists (which Jesse himself comments on in this movie, while discussing the end of his book, a fictional account of his Vienna romance with Celine), as the two parted company after promising to meet again in six months. Would they meet again? Or not? It worked brilliantly.
Here, however, after an entire movie of unfulfilled desires, spirited interaction, insightful conversations, and beautiful Parisian scenery, the film sort of peters out at the last instant, fading out with the admittedly pleasing implication that Jesse and Celine will indeed get together, but doing so somewhat abruptly and unexpectedly during a scene in Celine's apartment, which left me feeling emotionally unsatisfied. Nothing wrong with ambiguity and subtlety and certainly no need to explicitly get them together via a make-out session or something equally Hollywood, but somehow, when the lights came up, I didn't feel the sense of dramatic satisfaction and resolution I did with "Before Sunrise."
I don't want to play up my problem with the movie's ending too much, and I hope the studio doesn't impose damaging changes upon the film based on the screening feedback (the post-screening questionaires concentrated on the film's conclusion, suggesting some indecision, perhaps by the producers or execs, that the ending is problematic), and in fairness, my girlfriend, who also loved "Before Sunrise," dug the ending of "If Not Now." So maybe it's just me. And in fact, I didn't warm to and fully appreciate the ending of "Dazed and Confused" when I first saw that film, but eventually grew to love it. And my problem with the ending is ultimately small potatoes given what a treat this movie is, a paean to love, romance, and hope.
Hopefully, the audience and focus group's sensibilities were attuned to the movie, which is the polar opposite to the insipid sitcom-style romantic comedies Hollywood often turns out. It seemed odd to me that they would test this film, since its quiet, low-key, character-focused style might not appeal to audiences weaned on dreck like "Forces of Nature." Ideally, people are starved for Linklater's brand of gentle, carefully observed character study/romance and will appreciate the joys of two characters actually talking at length, free of the distractions of exploding cars and CG aliens. The test audience did seem to dig the movie.
I forgot to mention what might have been the highlight in a consistently wonderful film: Julie Delpy's guitar waltz, a song about a lost love which she sweetly sings near the movie's end, accompanying herself on guitar. Beautiful and haunting, the best song I've heard since Tara's "Under Your Spell" in the Buffy musical ep.
Anyway, just thought I'd write in to plug this movie, the best I've since since "Finding Nemo," and worth putting up with the annoyance of being scanned by security for metal and recording devices prior to entering the theater. IMHO, Richard Linklater and the geniuses at Pixar are the biggest and most consistently creative talents currently working in film.
Okay, have I drooled and supplicated myself enough at the altar of Linklater? Can't help it. Now if they'd just release "Slacker" on DVD.
If you use this, call me "Wooderson."
