There's a curious forthrightness to the presentation that's mildly off-putting. In Yann Dedet's editing (especially in transitions that feel curt and premature), in Maurice Jaubert's music, to some extent Nestor Almendros' cinematography, and even in Francois Truffaut's direction there's a certain straightforward brusqueness, and a feeling of marginally accelerated pacing, that makes 'L'histoire d'Adèle H.' come off more as a made-for-TV movie rather than a full-length theatrical release. That unfortunate sense is not aided by a gawky, ill-fitting introduction or an epilogue that is even more so. This seems especially strange coming from Truffaut of all people, but here we are. Mind you, that's no immediate commentary on the value of the picture, but the overall look and feel here is nevertheless a tad different from what I had anticipated. Even at that, however, the strength of the production shines through in other regards, and by all means the film is engaging, compelling, and well worth most anyone's time.
While the execution may lack an absolute refined touch, the screenplay concocted between Truffaut and his co-writers is rich with subtle detail and an underhanded vitality. To the fullest extent that can be done, that finesse is borne out in the final product in the most important way. The feature lays bare discreetly but definitely how very troubled Adèle is, demonstrating the illness she struggled with in real life without specifically say the words aloud. In fact, at times 'L'histoire' feels almost secretive about its narrative core, and I wonder if it wasn't crafted with a mind that its viewers are or should already be familiar with the woman's story. Still, that kind of only emphasizes the finesse of the writing, a vibrant heart that lends to the tragic complexity of Adèle as she appears here, the bristling energy of the dialogue and robust scene writing, and the overall intensity and ill portent of the narrative. Yes, there are rough edges to the realization for the Silver Screen, but the underlying substance is undeniable and wonderfully satisfying as a viewer.
Those rough edges in no way extend to the craftsmanship of crew operating behind the scenes. The production design and art direction are outstanding, adjoining lovely filming locations in conjuring the period setting. The costume design is simply superb and surely one of the top highlights, with the hair and makeup just as splendid, particularly in accentuating Adèle's desperate state of mind. Most significantly, those rough edges are nowhere to be found in the acting. All involved give strong performances spotlighting the deepening drama, just as most other facets from the music to the costumes reflect the title character's gradual deterioration. Far and away, though, Isabelle Adjani is a sparkling gem with the tour de force portrayal she turns in; the value 'L'histoire d'Adèle H.' has to offer, in fact, stems mostly from her acting alone, with the writing representing the preponderance of the remainder. Only 20 years old at the time the movie was released, Adjani unquestionably illustrates the tremendous fullness of skill - exemplary range, nuance, physicality, and emotional depth - that within several years would come to earn her first of five well-deserved César awards for Best Actress. While the film is otherwise deserving on its own merits, I don't think it's unfair to say that more than anything else, this is worth watching just for Adjani.
It's distinctly imperfect, and sadly those weaknesses are just as evident throughout the runtime as the luminosity of the lead, and more so than the calculated slyness of the writing. Nonetheless, it speaks well of all who participated in the feature's creation that the advantages outweigh the faults. Unless one is a diehard fan of Truffaut, Adjani, or perhaps Victor Hugo I think this falls short of being a must-see, yet so long as one can abide the more deficient aspects of the production, much more than not it's well worth checking out. Don't go out of your way for 'L'histoire d'Adèle H.,' but these are 95 minutes well spent despite its flaws, and a fine credit to those involved.
While the execution may lack an absolute refined touch, the screenplay concocted between Truffaut and his co-writers is rich with subtle detail and an underhanded vitality. To the fullest extent that can be done, that finesse is borne out in the final product in the most important way. The feature lays bare discreetly but definitely how very troubled Adèle is, demonstrating the illness she struggled with in real life without specifically say the words aloud. In fact, at times 'L'histoire' feels almost secretive about its narrative core, and I wonder if it wasn't crafted with a mind that its viewers are or should already be familiar with the woman's story. Still, that kind of only emphasizes the finesse of the writing, a vibrant heart that lends to the tragic complexity of Adèle as she appears here, the bristling energy of the dialogue and robust scene writing, and the overall intensity and ill portent of the narrative. Yes, there are rough edges to the realization for the Silver Screen, but the underlying substance is undeniable and wonderfully satisfying as a viewer.
Those rough edges in no way extend to the craftsmanship of crew operating behind the scenes. The production design and art direction are outstanding, adjoining lovely filming locations in conjuring the period setting. The costume design is simply superb and surely one of the top highlights, with the hair and makeup just as splendid, particularly in accentuating Adèle's desperate state of mind. Most significantly, those rough edges are nowhere to be found in the acting. All involved give strong performances spotlighting the deepening drama, just as most other facets from the music to the costumes reflect the title character's gradual deterioration. Far and away, though, Isabelle Adjani is a sparkling gem with the tour de force portrayal she turns in; the value 'L'histoire d'Adèle H.' has to offer, in fact, stems mostly from her acting alone, with the writing representing the preponderance of the remainder. Only 20 years old at the time the movie was released, Adjani unquestionably illustrates the tremendous fullness of skill - exemplary range, nuance, physicality, and emotional depth - that within several years would come to earn her first of five well-deserved César awards for Best Actress. While the film is otherwise deserving on its own merits, I don't think it's unfair to say that more than anything else, this is worth watching just for Adjani.
It's distinctly imperfect, and sadly those weaknesses are just as evident throughout the runtime as the luminosity of the lead, and more so than the calculated slyness of the writing. Nonetheless, it speaks well of all who participated in the feature's creation that the advantages outweigh the faults. Unless one is a diehard fan of Truffaut, Adjani, or perhaps Victor Hugo I think this falls short of being a must-see, yet so long as one can abide the more deficient aspects of the production, much more than not it's well worth checking out. Don't go out of your way for 'L'histoire d'Adèle H.,' but these are 95 minutes well spent despite its flaws, and a fine credit to those involved.