
            The film begins with a long plan-sequence lasting six minutes on the old, decrepit face of Marin Marais (Gérard Depardieu) who is conducting a master class. As he asks for a viol and starts playing, with tears in his eyes he recalls his old teacher, Monsieur de Sainte Colombe (Jean-Pierre Marielle), and his apparent own failure as a musician in his shallow life: I am an impostor, and I am worth nothing. This hint of fraud focuses the viewer toward a possible secret to be discovered, recalling the rivalry between Salieri and Mozart in the film Amadeus (1984). Because the story is presented as a flashback, it is tinged with sadness and culpable nostalgia.Following the death of his beloved wife (Caroline Sihol), Sainte Colombe retires to his country estate, into a life of austerity and isolation. He dedicates his life to the upbringing of his two young daughters, Madeleine (Violaine Lacroix) and Toinette (Nadège Teron), and personally conducts their musical education. He has a small wooden hut built in his garden, where he withdraws to play his viol and wallows in the souvenirs of his dead wife. From time to time, when his playing is particularly good, she appears to him. As the daughters reach their teens, Madeleine and Toinette (now interpreted by Anne Brochet and Carole Richert, respectively) have become accomplished viol players themselves, and performances by the Sainte Colombe trio are heavily in demand. Following his attendance at one of these performances, Monsieur de Caignet (Yves Gasc), a member of King Louis XIVs inner circle, recommends Sainte Colombe to the King, but the artist, in harsh words, declines the royal privilege to the dismay of the Kings envoy.One day, nineteenyear-old Marin Marais (Guillaume Depardieu) shows up at Sainte Colombes door, requesting that he be accepted as a pupil. In spite of an impressive audition, the Master rejects him, to the great disappointment of both Madeleine and Toinette. In a short but cold and biting pronouncement, Sainte Colombe tells him to go to play at the Court, where his undeniable talent will be most appreciated, but he, Marais, will never know what real music is all about, and what it means to be a musician: You make music, Monsieur, you are not a musician. Nevertheless, Sainte Colombe tells Marais to come back in one month. After that time, Marais returns and he becomes Sainte Colombes pupil, for at least a short while, until the Masters next temper tantrum, following which he is told to leave and never return.Madeleine helps Marais by secretly teaching him all that her father has taught her, and in the process, becomes his mistress. Although Marais has returned to Versailles, with Madeleines help, he is able to hide beneath the wooden shack to which Sainte Colombe retreats at night to play and reminisce about his beloved wife. He listens to the Masters improvisations and learns his technique. Eventually, Sainte Colombe discovers the pair under the hut listening, and this time Marais is banished for good.Madeleine is pregnant, but Marais, increasingly addicted to the glamour of the Court, soon forgets the Sainte Colombe family. Madeleine delivers a still-born baby, following which, overwhelmed with grief at being abandoned, she falls ill. Sainte Colombe sends for Marais to come to his dying daughters bedside. Marais obliges, but he is cold and distant, even cruel in his remarks. After his departure, Madeleine hangs herself.Marais realizes that Sainte Colombe was correct in asserting that, in spite of the virtuosity, Marais music is simply empty. He becomes so obsessed with his failing that he again sneaks back at night under the wooden shack to hear Sainte Colombe play, hoping to finally uncover his Masters secrets. However, the Master is so despondent over the loss of his daughter that he no longer plays. Marais waits for three years, spending countless nights in vain under the shack, until one night Sainte Colombe finally plays. Marais reveals himself and Sainte Colombe invites him into his intimacy: Monsieur, could I ask you for a last lesson? to which Sainte Colombe answers, Monsieur, can I attempt a first lesson? Finally, Monsieur de Sainte Colombe will allow himself to enter posterity, as he is now ready to teach Marais and to pass on all his musical knowledge to a next generation.They play together, and the music acts as a bridge to the present, as Marais is finishing his story to a mesmerized audience. The ghostly image of the now deceased Monsieur de Sainte Colombe appears to him. He tells his pupil, who had become his equal, if not surpassed him, I feel pride in having taught you.
    

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Cyrano de Bergerac


            
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Intimate Strangers


            ''Dust'' begins with a darkened room that Edge has just broken into. He's prowling the apparently empty place for valuables, casting around and finding nothing but old photographs, some of which seem to date to the beginning of the 20th century. He is surprised in his dirty work by the place's elderly inhabitant, Angela. He hits her, but before he can escape, she whips out a large antique -- but still functional -- six-shooter and proceeds to prattle on about her life. Her tale, unfolding in black-and-white, is the story of two brothers, the lusty outlaw Luke and the virtuous, religious Elijah.
Their story starts in the Old West, with a fight over a prostitute, whom they both love and Elijah marries. The resulting envy and bitterness send Luke fleeing to Macedonia. After seeing a silent film about the region and its lawlessness -- an external turmoil obviously meant to mirror his own inner conflicts -- and a bandit known as Teacher with a huge price on his head, Luke also decides it's a place to make his fortune.
Mr. Manchevski suavely shuffles his various narratives, sometimes smoothly presenting the juxtaposed tales and on other occasions cutting violently from one story to another. The literal violence -- gun battles and punches detonating all over both stories and leaving a spray of intentional confusion -- is staged with bracing clarity.When Luke arrives in Macedonia, the screen is deluged with hot, bright desert colors that are oddly soothing to him given the foreign locale. The director signals that he is as unreliable a narrator as Angela because communicating emotion is more important than relaying facts in ''Dust.'' He wants to convey the sense of being torn, which both Luke and Edge feel. Edge is hustling for money because a pair of thugs he owes are slowly -- and happily -- breaking parts of his skeleton piece by piece until they're repaid.
    

Anne Brochet

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