In the case of 35
Shots of Rum, though it focuses on relationships akin to Jarmusch, it holds
a central story that evokes the quiet tenderness of Yasujirō Ozu. Living within
a small, tight-knit community is Lionel (Alex Descas) and his daughter
Josephine (Mati Diop). We see an evening routine as the two return home from a
long day. Lionel, a widower, works on the metro while Josephine studies. Their
relationship is very close and it is clear that they depend on each other. We
are introduced also to a neighbour, Gabrielle (Nicole Dogue). She has feelings
for Lionel, and has had these for a long time. The young man in an apartment
below, Noe (Gregoire Colin), is detached and unsettled. He doesn’t know whether
he is coming or going, but we know Josephine means more to him than he lets on.
These four characters depend on each other and we glide through their lives and
await a change – or as Roger Ebert put it in his review, a “shift”.
What makes 35 Shots
of Rum so engaging is the calmness of the story. The opening moments, as Jo
and Lionel busy themselves in the cramped apartment, is almost without words. In
fact, the only reason we realise they are Father and daughter is the passing,
flippant “Merci, Papa”, noted by many as a shock when revealed. While this
personal story can be considered poetic on its own small-scale, Claire Denis
hints at larger themes that have always interested her. The use of transport
alludes to a different social standing between the characters. Noe drives his
own car; something that Lionel seems unimpressed to hear. Lionel himself is an
experienced train engineer while Gabrielle operates her own taxi. Their clear
connection to public services show roots of socialism that no doubt pulls the
two together. Lionel’s passing remark, “we have everything here” as Noe leaves
their flat assures us that he is aware of young men and their reliance on
material possessions – opposed to strong, loving relationships and the
importance of playing a vital role in society. Noe’s treatment of his cat, for
example, seems somewhat shocking.
But Denis doesn’t force the issue. These are nuanced
characteristics that float in the back of our minds. In a city whereby hot
drinks steam in the windy weather and shabby interiors are almost
claustrophobic, 35 Shots of Rum feels
true. A contrast between the open plains of a beach coast against the urban
city mirrors Ozu’s influence further, but 35
Shots of Rum stands on its own and deserves the praise it receives. Subtle
and personal, 35 Shots of Rum is a
film that tells of the inevitable changes to come and its effect on a family –
and the unexpected future they will have to accept.
This post was originally written for Flickering Myth
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