Pola X
Director: Leos Carax
130 minutes (18) Artificial Eye
review by Peter Schilling

There comes a point in any tragic story, especially one connected with dark family secrets and artistic romanticism - as this one is, when the heartbreak becomes so overwrought and absolutely false that derisive laughter is the only release. Pola X may avoid the excess emotional baggage of, say, the wearisome Magnolia, but its terribly contrived scenario reduced me to fuming sneers, and it fails for much the same reasons as Magnolia. Inspired by Herman Melville's novel 'Pierre, or The Ambiguities', Pola X is nothing more than ultra-stylish tosh from the director of the equally stunning but vacuous, Les Amants du Pont Neuf (1991).
   Guillaume Depardieu (son of Gérard) plays happily successful novelist, Pierre, shocked to learn from a mystery brunette that he has a half-sister. He confronts his mother (Catherine Deneuve, topless at one point), then abandons his wealthy privilege and storms off for a new lifestyle of abject poverty in the classic writer's garret at a bizarre, existential musicians' commune. His jilted fiancée tracks him down leading to more heartache for Pierre, whose latest book is cruelly rejected by his publisher. His relationships wrecked, talent apparently squandered, career prospects trampled, the deranged Pierre takes a gun to his onetime best friend's head.
   Pola X is an empty, designer-label mix of snobbery, alcoholism, estrangement, incest, suicide and murder. Death and dishonour lurk round every corner on this film's road to wilful oblivion. The key backstory is delivered in total darkness. We see a young child killed by the passing stranger she unknowingly insults. The only truly romantic scenes are between siblings. The music by Scott Walker (of Walker Brothers fame) is good. Overall, though, Pola X has passion but no integrity. It's a messy, strained, depressing drama; quite unsuitable entertainment for struggling authors!

DOWSE Guide to the Movies is compiled by Tony Lee editor of Pigasus Press
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