Arnaud Desplechin is the kind of auteur director who is seemingly always going to get a showing at Cannes. Several reviewers suggested after this film’s 2015 appearance at Cannes that Desplechin was a Proust for our times. This is a reference to his exploration of the life and loves of his alter ego Paul Dédalus as played by Mathieu Amalric. This character first appeared in 1996 in Ma vie sexuelle. The 2015 film is effectively a prequel to the earlier film with Dédalus presented as a young boy (Antoine Bui) and as an adolescent (Quentin Dolmaire), although it is bookended by contemporary scenes with Amalric. The main narrative concerns the 19 year-old Paul and is told as a long flashback.
The mystery about the release is why it has taken so long to appear in the UK. Desplechin had another film screened at Cannes in 2017 (Ismael’s Ghosts) but My Golden Days has taken nearly three years to roll out slowly across various territories. Its arrival in the UK now is thanks to the estimable New Wave Films. I suspect that some cinephiles find Desplechin to be self-indulgent in his use of Amalric to play semi-autobiographical roles. I’ve only watched A Christmas Tale (France 2008) – though I have a copy of Kings and Queen (2004) which I found difficult to get into. I might return to it now. One of the things that interests me about Desplechin is that he comes from Roubaix and that the city appears in both A Christmas Tale and My Golden Days. Roubaix is part of the wider Lille metropolitan region and as a textile city is twinned with Bradford in the UK. I was fascinated when I visited it.
The adult Paul Dédalus is an anthropologist who has specialised in the communities in what was once Soviet Central Asia. At the beginning of the film Paul is about to pack up and leave Tajikistan to return to Paris. During his last few hours with his local lover he remembers his childhood and particularly his mentally-disturbed mother (this the first ‘souvenir’). On his arrival back in France, an incident prompts him to remember his teenage years and the long flashback begins, first with his schooldays and an eventful trip to the USSR (the second ‘souvenir’) and then his difficult access to his anthropology degree in Paris – third souvenir and the bulk of the narrative. We meet his younger siblings Delphine and Ivan, his cousin Bob and his friends Kovalki and Mehdi. Paul’s father is not really active in the household which is held together by Delphine. On one of his trips home from Paris, Paul meets Esther, still at school but an unusual young woman and for Paul a compelling presence. Over the next three years the two will have a sometimes tempestuous romance.
This central youthful romance is well presented. It’s intelligently written and beautifully acted by Quentin Dolmaire and Lou Roy-Lecollinet as Esther (the young actor who is also featured in I Got Life! (France 2017) which opens next week). Desplechin was born in 1960 so his own ‘coming of age’ would be the 1970s. But here he uses the fall of the Berlin Wall in 1989 as a kind of social and political marker and this does tie in to Paul’s family history which links to Russia and specifically to Belarus (where part of the film was shot). Before I saw he film I wondered if it would be like the 1968 student-based films of Bernardo Bertolucci and Olivier Assayas, neither of which I’ve seen, but I remembering being put off by trailers I saw. I suspect Desplechin’s film is different, but I’m happy to be corrected.
I noted in the credits that the music soundtrack in the film includes something from the Georges Delerue score for Truffaut’s Tirez sur le pianiste (1960). Delerue was also born in Roubaix but I think what intrigued me was that I thought about Truffaut’s Antoine Doinel films while watching My Golden Days. To some extent, Desplechin follows Truffaut in using a single actor as an alter ego and follows the character created for that actor across different films dealing with different times in his life. I felt that though Paul and Antoine are very different characters, something about the characters is shared – a seriousness about aspects of culture, a willingness to do whatever it takes in the face of hardship and a vulnerability in regards to women. Paul is both mature for his age and capable of childish rages. But when he has been interviewed, Desplechin has talked about very different inspirations – on the one hand he has mentioned Catcher in the Rye and Coppola’s The Outsiders and on the other he has acknowledged Bergman and Fanny and Alexander – but also Summer With Monika (1953), one of the few Bergman films I like and one of the films featured in Truffaut’s Les quatre cents coups (1959). The important point is that Desplechin seems to be adept about capturing something about being 19 and how certain relationships might stay with us. Esther is a remarkable character and is wonderfully played here. In the earlier film (the ‘sequel’) the grown up Esther is played by the equally wonderful Emmanuelle Devos.
My Golden Days has been very well received by the majority of critics who seem to appreciate Desplechin’s skill with the story which is not strong on narrative drive and might seem to meander but is always kept together by Dolmaire’s Paul and his love for Esther. For me, the Roubaix scenes work very well, offering a contrast to Paul’s attempts to survive and prosper in Paris. Roubaix is only around 140 miles from Paris but it seems several years behind with the decline of its textile industries, its cobbles and nineteenth century streets of warehouses and workers dwellings. Virtually on the Belgium border, Roubaix perhaps has more in common with the Dardenne Brothers’ world of similar industrial decline in Seraing in the Meuse valley.
I’m not sure how My Golden Days will work with UK audiences, but I enjoyed the film and I’ve thought a lot about it since the screening. This week it is only playing at the Showroom in Sheffield and the Ciné Lumière in London (where it carries on for a second week). Get along to see it if you can – it’s worth the visit.
There is a useful review of the film by Jonathan Romney in Sight and Sound, April 2018.