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him i r T.r-r -, (iHirttay photo
Emily (lane Birkin) shows her disapproval of Virgil (Lazio Szabo) in a scene from ' ‘iMve On
The Ground. ”
'Love On The Ground' is refreshing;
story line keeps audience guessing
Life, artifice and the
manipulation of reality are the
subjects of Jacques Hivette’s
enigmatic ‘‘Love On The
Ground." a thoroughly engross
ing puzzle of a film that puts
theater up as a mirror on life.
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Christmas Break!
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fane Rirkin and Geraldine
Chaplin are struggling actresses
Emily and Charlotte, currently
featured in a play staged in an
urban apartment for an au
dience of "eavesdroppers."
One onlooker, Clement (Jean
Review by
Sean Axmaker
Pierre kalfon). happens to be
the playwright from whose
work this play was rather
liberally "adapted.” The
leading man is terrified and
begins to drink the props, and
Kmily and Charlotte frantically
PRECISION
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29th & Willamette
343-1182
no appointments
improvise to save the
performance.
Clement is charmed by the
entire concept and invites them
to perform a play he is writing
and directing in his stately man
sion in like fashion. The two
women are invited to live on the
premises for the weeklong
rehearsal schedule before the
first, and only, performance.
The house is peopled with
colorful characters. Paul (Andre
Dussollier) is a magician by
trade, and contact with him
causes both Emily and Charlotte
to experience visions that come
to pass in the film. The omnis
cient butler, Virgil (Lazio
Szabo), is friendly but im
penetrable. Me is a veritable
stage manager for both the
household and the play, work
ing mostly behind the scenes in
almost every facet, including
typing, and ■'improving’' Cle
ment's scripts.
Clement himself is the
manipulative director of the
house and the play, which are
not as isolated as one might
think. As our actresses soon
find out. the play is a re
creation of events that
transpired in this very house
amid the love triangle of Cle
ment, Paul and a mystery
woman. Eleanor.
Here the barriers between life
and art break down. Clement's
direction doesn't stop at the
Turn to 'Love,' Page 16
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