By Bill Marshall
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Indeed, one of the obstacles – essential for generating narrative – between Gilles and Hélène will be that of social class: she is a professional (working as an anaesthetist at the local hospital), he is much more of a drifter, having recently returned from New York with his friend Bernard (Etienne Chicot), and getting by on work as a tourist guide. His mother (Frédérique Ruchaud) manages the small tourist hotel near the railway tracks that gives the ﬁlm its name. Audience narrative expectation is also aroused in these opening sequences in relation to genre, most notably the question, in what genre can this ﬁlm be placed?
Entretien avec Bruno Nuytten. Cinématographe, 23 (January), 28–29. Forbes, J. (1992). The Cinema in France: After the New Wave. London, BFI/ Macmillan. Frenais, J. (1977). Entretien avec André Téchiné. Cinéma, 217, 54–58. Higson, A. (2003). English Heritage, English Cinema: Costume Drama since 1980. Oxford University Press. Jones, K. (1997). André Téchiné: la estrategía de la tensión. Valladolid: Semana emergence 29 internacional de cine. MacCabe, C. (1980). Godard: Images, Sounds, Politics. London, BFI/ Macmillan.
The opening shot establishes a concrete, contemporary space: this is Biarritz in the present. The montage shots show that this place has a history and geography which shape the events within it. The sea is both enticing and dangerous. The beaches and cliﬀs of the town attract thousands of visitors, and therefore thousands of individual stories are brought together, launched and relaunched, lives reshaped. The story of Hélène and Gilles, as intense as it is, has to be understood in relation to wider social connections and networks.
André Téchiné by Bill Marshall