It's undeniably powerful and beautiful, but I almost wish it had more balls. The opening scenes with the nearly unbearable point-of-view is so intense and remarkable and original that part of me really wanted it to remain like that for the entire film, perhaps with a few surreal dream sequences interspersed. As difficult and frustrating as an entirely POV film would be, I kinda wanted one when the film began. Instead, the POV is slowly phased out, and the film became more of a Godard/WKW love child, though it's not nearly as interesting or original as that image implies. Though I can understand what the film was going for, with the dream sequences breaking out of the prison that the rest of the film was trapped in, this really would've worked better had all the hospital scenes been strictly POV, which they were not. The juxtaposition between the uncomfortable, interior, present scenes and the alive, colourful, past scenes is key to what the film's going for, and I think it just missed the mark by chickening out and not going all out on the POV.

Still, it's an innovative, imaginative ride, despite its rather depressing story.

That would have been interesting, I guess. But like, I dunno. If the film was like those first twenty or thirty or whatever minutes throughout, I dunno that I wouldve made it through. I found it incredibly intense, almost to the point of physical discomfort (or psychological anxiety, anyway). I think they opened it up at just about the perfect time.

I admire it a lot, I think Schnabel and the cinematographer do a hell of a job capturing the syndrome. But it's kind of hard to put this on my favorites list of last year, because honestly, I don't think I'll ever watch it again. It's really an exhausting and paralyzing experience, I legitimately felt discomforted and damaged by the end of it, like kypade said. I guess that was the point, but regardless as a result I can only respect this movie more than love or cherish it like the films on my top 10 list last year.

The acting is all pretty wonderful, though I wish we hadn't lost Henrietta halfway through, the actress who played her was by far my favorite. I never felt anything for the other women.

I thought the least interesting sections of the film were the flashbacks, I mean getting some memory is nice and the idea of remembering certain scenes and moments more vividly than others is a good, but a ten minute scene of shaving his father or the Madonna girl sequence kind of took me away from the real stuff in the hospital, which I wanted to see more of. I think the phone call with his dad (one of the best scenes in the movie IMO) would've still been as affecting if that was the first time we'd seen him.

Anyways, it's hard to grade, because on one hand it's easily one of the most expertly crafted films of last year and it seemingly accomplishes all it wants to, but it's just too discomforting a watch for me to truly cherish.

4/5

THE DIVING BELL AND THE BUTTERFLY - 6/10 (B-)

I wanted to love this film, and there's no denying that it's really well-made, with the cinematography being especially good, but I found myself unable to connect to it emotionally. I hate to say it, but I really didn't care about the character of Jean-Dominique. I was more moved by the women around him, especially Céline (Emmanuelle Seigner). I felt so bad for her in one scene. I also adored Henriette (Marie-Josée Croze) and Claude (Anne Consigny).

I was actually reminded a lot of another film, THE SEA INSIDE, which I liked better. Maybe someday I'll revisit THE DIVING BELL AND THE BUTTERFLY, but watching it once was enough for now. I just couldn't find much to appreciate beyond its artistic merit and some good performances.

On a sidenote, I did love the song "Don't Kiss Me Goodbye."

I really wanna see it...need to get to it finally...

mmmm....I think the official name of this one might be "The Diving Bell and the Butterfly," not "Le Scaphandre et le Papillon" because it was an American-produced film. Not sure. IMDB goes by the french name though, so maybe not.
I think this is just one of those cases like "Sunset Blvd." v. "Sunset Boulevard."
We'll never know.

I couldn't find this thread this morning (not right away anyway) because I was looking for one named "The Diving Bell & The Butterfly."

Check it out. You won't regret it

Huh?

It's a French - American co-production, it was filmed in France with French crew, it's in French... Why would the official title be in English? Also (in my opinion) the official title is the one on the movie credits, and it clearly says Le Scaphandre et le papillion.

After some thinking

10/10 -> A

It's a wonderful movie, but it's uneasy to watch. That was the point, but I feel kinda violated. Movies mostly make you feel good or sad. They give you some familiar feeling. But this one - it's just so hard to even think about it, because it practically sucks you into Jean-Do's world and doesn't let you go until you feel what he felt. And that's an awful feeling and something you don't feel every day or two like sadness or happiness.

All of the cast is great.

That being said, the movie is great from the technical point of view. Schnabel definitely deserved an Oscar for directing. No Country pales in comparison to Scaphandre.

First off I would like to state that 2007 was the best year for movies in a really really long time. There Will Be Blood, Into the Wild and Zodiac are the best of last year, along side this magnificent film. It was absolutely stunning. Julian Schnabel's direction was wonderful and the cast, led by Mathieu Amalric, was brilliant at making me smile and laugh at times as well as wiping tears from my eyes because of this amazing, sad, true story. One of my all time favorites.

10/10

Incredible film, really excellent.

I almost wanted it to stay from his perspective though and feel it lost a bit of it's intensity after it opened up, but maybe it would have been too much for the whole film. The sewing up of the eye scene is one of the most effective i have witnessed in a long time.

Just gorgeous to watch at times with excellent cinematography, dark humour (just up my street) and a pretty great score to boot. My only regret is that i didn't get to see it sooner.

A

This film is just a truly remarkable piece. Beginning with the first forty minutes of not even seeing Jean-Do from front to bottom in his condition brings out alot of emotion at the start. Even though he doesn't do much movement wise in the film, Mathieu Amalric approach was spot on. The supporting cast as well gave this film a really strong force. The sense of just using his left eye to communicate and be able to have a book published is phenomenal. I was left close to tears at some of the moments especially when he talks about not being able to embrace his own children. The disease itself scares me alot now. If you couldn't find yourself to have the least bit of emotion with this film or even cherish what you have after watching this, then you have one cold, stoned heart. This is truly one of the best films I've seen this decade. Just incredible.

***** (A)

I had the exact same experience with this film. I went in thinking I would absolutely love it, but unfortunately I was extremely dissapointed. I couldnt connect emotionally with it and alot of that has to do with the lead character. Perhaps its the actor, who ive never been a fan of and dont see why he gets so many meaty French roles (or even lacklustre ones like QoS).

But the cinematography and colour pallet are damn amazing. So too the direction.

Grade: B-

Add me to the club.

More toughts later.

I just got the book at the library, hopefully it is more captivating.