Boy Meets Girl (1984) - Movie Reviews - Rotten Tomatoes

Boy Meets Girl (1984) Reviews

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November 29, 2015
Strange and unique in all the interesting ways.
August 28, 2015
Surreal exploration of a developing relationship, one which you'll need an appreciation of art-house movies to appreciate this one.
½ June 25, 2015
An interesting angle on life at that age . Portrayed is what's supposed to the directors unique style, his first attempt at that. The story and presentation does draw you in quite well. Some scenes especially are well crafted. The story doesn't tend to end in a finality and leaves it a bit vague but intriguing never the less
August 13, 2014
Leos Carax's (arguably France's greatest working director) debut picture is a surreal romance for the ages! Shot when he was only 24, the film carries a craft that seems to come from a man eons older, but it's mentality assuredly reflects his young age. It's that rare film that really understands youthful ennui, and the desperation to find love, captured in a plethora of different film styles and methods that borrow from only the greats, yet never feels derivative. Frequently hilarious, as well as climactically heartbreaking, Boy Meets Girl feels like the lovechild of Truffalt and Godard...if that child happened to listen to a lot of punk rock!
May 25, 2014
Visually interesting at times, but rarely engaging on any other level.
½ March 25, 2014
I was fascinated by the filming and dialogue..a really interesting piece of work.
November 26, 2012
definitive document of '80s underground French cinema by Leos Carax
½ October 4, 2012
As Carax's filmmaking debut, Boy Meets Girl is remarkably mature. A black and white mix of new wave, subjective realism and sombre german expressionism, its a blunt, thwarted love tale that only a 23 year old would have had the gall to create...

Carax‚(TM)s central hero is a loveable loser named Alex (Denis Lavant), an aspiring filmmaker who copes with his girlfriend leaving him for his best friend by letting it infiltrate into his creative output. A day before he is called up for compulsory army service, Alex plots out the significant moments of his life on a wall map, with potential working titles for movies he‚(TM)ll never create being the cohesive glue to his failed existence. Wandering Parisian side streets at night, Alex overhears an emotional break-up via an intercom. Allured by the aloof Mireille (Mireille Perrior), he smuggles into the upstairs party to find the face that matches that enchanting voice and fall head-over-hells in love all over again.

Now a longtime collaborator Carax, Lavant makes the seemingly irksome protagonist interesting. Blessed with a inexplicably cinematic, harsh face, Lavant encapsulates the post-adolescent delirium that many boys, and particularly artists, struggle with. Perrior too is fantastic, carrying the neurotic, often abrasive character with warmth.

Although the plot must have been as trite thirty years ago as it is now, Carax‚(TM)s eye for the cinematic is transcendental. With whole sequences hardly delivering any narrative significance, they are neverthelles miraculously crafted and designed, with DP Jean-Yves Escoffier‚(TM)s vivacious, yet dark cinematography matching the apathetic tone of the film.

Carax‚(TM)s use of contemporary music is interesting too, with Dead Kennedy‚(TM)s ‚~Holiday in Cambodia‚(TM) soundtracking Mirelle‚(TM)s post-break up trauma. That, and the use of highly contrasted black and white, certainly recalls Carax‚(TM)s contemporaries ‚" Jim Jarmusch of New York, and Aki Kaurism√§ki of Finland. All three were crafting their own niche ascetism to filmmaking, which soon led to their consideration as three of today‚(TM)s working auteurs.

Back to Boy Meets Girl, it‚(TM)s a laconic drama that oozes cool, even if it borrows a little too unashamedly from it‚(TM)s arthouse influences, rather than providing anything new. It‚(TM)s a common criticism with a debutant‚(TM)s piece, and only leads me with eager anticipation into Carax‚(TM)s 1986 follow up Mauvais Sang‚¶
September 2, 2012
Carax's absurdist style is present from day one. Many terrific moments, but far too many ponderous non sequiturs.
Bill D 2007
Super Reviewer
½ June 25, 2012
For an avant-garde film, "Boy Meets Girl," Leos Carax' debut release, is surprisingly tender. This is my first viewing of any Carax film, and I was surprised and delighted by the emotional quality of "Boy Meets Girl."

Avant-garde artists typically are all about ideas. But Carax, at least in his early days, was all about feelings. "Boy Meets Girl" introduces us to an array of characters, all feeling wounded in some way. Mostly it is due to the loss of love. The two lead characters, young intelligent misfits played by Denis Lavant and Mireille Perrier, have just been dumped by their significant others. They walk around Paris shell-shocked until they meet each other at a party.

The scene where they start getting to know each other is so loving and compassionate. Carax has a deep heart. It seems he spent his college years not so much studying philosophy as studying people. He's got a PhD in the human yearning for love.

But it's not a great film. It's charming but rather light. It reminded me most of the films of Jim Jarmusch. By a very nice coincidence, Jarmusch and Carax both released their debut films in 1984. (JJ's was "Stranger Than Paradise.") They both embody the downbeat, laconic chic of the New Wave era. But whereas Jarmusch's characters almost never emote, Carax' characters frequently gush.

It's hard to believe that I've never heard of Carax until this year. I don't know how his work slipped by me all these years. Surprisingly, he never developed much of a reputation in the US. I discovered him by way of the trailer for his brand-new film, "Holy Motors," which showed at Cannes this year but has not been released in the US yet. (Thank you, Vite, for sending me the trailer.)

While I wouldn't say I was mesmerized by "Boy Meets Girl," I was impressed -- pleased enough to want to see all his films. There haven't been too many. He basically retired in 1999 after "Pola X." So "Holy Motors" represents his big return to filmmaking. I'm eager to see his entire body of work.
May 27, 2012
Carax' first feature talks of the ennui and disenchanted youth through the eyes of two heartbroken lovers. The black-and-white cinematography is gorgeous as well. The meditative nature and meandering storytelling, harking back to the old New Wave cinema, has its moments of beauty and charm. However, the film moves at a pretty slow pace that makes it quite dreary at times, leading to an ending that seems abrupt and disjointed from the rest of the film. Maybe it's a "Carax thing".
May 4, 2012
Somptueuse photographie. Magnifiques cadrages. Un splendide hommage au cinema. Grandiose. C'est beau tout simplement.
January 4, 2011
Typical French art film that drags in places, but overall I quite enjoyed it's experimentation, particularly in it's use of popular music
August 8, 2010
Leos Carax's first film cements him, in my mind, as one of the great poets of film history. He represents cinema in the same way cinema represents love; impossible to describe in hindsight, but impossibly true in the moments in which we experience it. Only someone with both a library of memories tortured by longing as well as the film language skills to express it both articulately and abstractly could create something like this. Not a frame of the movie is short of creative enthusiasm towards love. Several times throughout the movie, in the middle of scenes, the screen cuts to black, withholding good chunks of conversations. But yet it still makes sense. Several times, also, the lights on the set will go dark, leaving only vague silhouetted outlines of characters, to freeze a moment in time forever, or to accentuate the lighting of a cigarette. In one specific scene, the dialogue in a monologue is hushed completely and replaced with a voiceover, in which we hear the internal honest things someone wishes they could say. This is the power of cinema that Carax makes us aware of. With these formalistic tools, as well as some of the most romantic modern black and white cinematography I've seen, Boy Meets Girl both inspires one with the different film techniques in which it can move an audience, but also with what it has to say.

Mirielle: "Do you fall in love easily?"
Alex: "Yes, often."
Mirielle: "I thought so."
½ January 25, 2010
This has its moments for sure. I can't say I really engaged with it. It was creative but seemed disjointed. I wasn't against the premise and liked many of the observations and musings on love, hell there's even a pinball scene, but it didn't move me. I also felt the budget imposed a clumsy jumpy style. Personally Mauvais Sang and Les Amants seem more wholly realised.
October 9, 2009
leos carax's movie moves me
September 25, 2009
I had never heard of Leos Carax until his Merde segment in last years Tokyo, and his was easily the stand-out the film's three stories. It wasn't my favorite of the shorts, but it was the most unique, and the most iconic. "The Lovers on the Bridge" was the first of his full length features I've seen, a virtuoso romantic film that uses image and music to communicate an exuberant young love that overflows into the poetic. Though he's classified as a neo-nauvelle vogue, his films owe as much to silent cinema as the 60's experimental narratives. His movies are closer to Jean Vigo in "L'atlante", Jean Cocteau, and Guy Maddin, than Godard and Truffaut.

In Boy Meets Girl Carax's 1984 debut he uses black and white and the heavy reliance on visual representation to display emotional states. He combines the exaggerated worlds of Maddin, but based in a reality that never seems quite stable like Cocteau, but by virtue of its expressions it becomes more accessible, emotional, and engaging like Vigo's movies.

The story of Boy Meets Girl is simple, and similar to Carax's two following films which comprise this "Young lovers" trilogy. A boy named Alex played by Denis Lavant (who plays a character named Alex in Carax's next two movies), has just been dumped by his girlfriend who has fallen in love with his best friend. In the first scene he nearly kills his friend on a boardwalk but stops short of murder. He walks around reminded of her by sounds of his neighbors having sex, and daydreams of his girlfriend and best friend getting intimate. He steals records for her and leaves them at his friend's apartment, but avoids contacting either of them directly. He wanders around and finds his way to a party, where he meets a suicidal young woman, and the film becomes part "Breathless" and part "Limelight".

Later he is advised by an old man with sign language to "speak up for yourself...young people today It's like they forgot how to talk." The old man gives an anecdote about working in the days of silent film, and how an actor timid off stage became a confident "lion" when in front of the camera. Heres where the movie tips its hand, but the overt reference to silent film is a crucial scene, since it overlaps the style of the film (silent and expressionist), with the content (a lovelorn young man trying to work up the courage to say and do the things he really wants to). Though Alex is pensive at first and a torrent of romantic words tumbling out of him by the end, he is the shy actor who becomes a lion thanks to the films magnification of his inward feelings which aren't easy to nail down from moment to moment, aside from a desire to fall in love.

There is a scene in the film where Alex retreats from the party into a room where the guests have stashed their children and babies, all crying in a chorus that fills that room, until he turns on a tape of a children's show making them fall silent. Unexpectedly due a glitch the TV ends up playing a secret bathroom camera which reveals the hostess sobbing to herself into her wig about someone she misses. Even as Carax is self-reflexive and self deprecating of the very kind of angst ridden coming of age tale he is trying to tell (the room full of whining infants), he's mature enough to see through the initial irony to the lovelorn in everything the film crosses. Even the rich old, bell of the ball has a brother she misses. In another scene an ex astronaut stares at the moon he once walked on in his youth while sipping a cocktail in silence.

Though indebted to films before talkies, Carax is a master of music, knowing when to pipe in the Dead Kennedy's "Holiday in Cambodia", or an early David Bowie song, the sounds of a man playing piano, or of a girl softly humming. I learned a little background info that explains some of the director's personal idiosyncrasies, and expands the personal portrait abstractly on display in this and all the three films of his trilogy. Details like how he was having a relationship with his lead actress in each of his films at the time of filming, or that he went through periods of being silent during his youth and adolescence (when he watched allot of silent films), or the fact that Carax's real name is Alex. In all three of his films Alex loves a woman involved with another man, in one film they fall in love, in another Alex dies, and in another its left ambiguous.

In Boy Meets Girl, when someone gets their heart broken we see blood pour from their shirt, when a couple kiss on the sidewalk they spin 360 degrees like a planet consigned to its private orbitl, when Alex enters a party an feels out of place, its because the most interesting people in the world really are in attendance; like the famous author who can't speak because of a bullet lodged in his brain, or the miss universe of 1950 standing just across from the astronaut.

This film is the missing link between Jean Piere Jenuet, Michel Gondry, and Wes Anderson, whose stylistic flourishes and quirky tales of whimsy, all have a parallel with different visuals, musical, and emotional cues in these Carax movies.

Contrary to the flixter description Alex is not a would-be filmmaker, he is not a would-be anything. Prior to his breakup he was living off his girlfriends unemployment, and content to stay in bed with her all day and just talk. He does say I'd like to make films, but right now I just think of the titles of films I'd like to make, but he also adds, I never achieved my dreams, because I just trying to have the same dreams again. He is youthful aimlessness personified, in all its confusion and thwarted romantic desire, which would by itself be nothing spectacular, but treated by Carax it, becomes cinematic poetry as warm, inviting, and enthralling as any I've seen.

Ive had recourring dream for years now where I meet an interesting girl, we talk and at some point we end up holding hands or having a breif kiss, but at some point in the dream the girl and I are always seperated by a crowd, bieng on a seperate bus going in opposite directions, or just vanishing like Alice's white rabbit down some empty labyrinth like hallway. Every line of dialogue, every piece of music and every effect and edit in this movie resonated with me on some emotional level, some I lack words to articulate.

There are many tales of a boy meeting a girl, but rather than just explore the banal details of any particular event this movie captures the ecstatic truth of adolescent passion and disappointment. The other movies you want to watch can wait. See this first. If I were to make films, I would want them to be like this, in fact I wish all films were like this, where the ephemeral becomes larger than life, and life itself becomes a dream.
August 18, 2009
Somptueuse photographie. Magnifiques cadrages. Un splendide hommage au cinema. Grandiose. C'est beau tout simplement.
½ August 8, 2009
Incredible. David Bowie.
December 26, 2008
Even taking into consideration the age of its director when he made this, I am hard-pressed to find redeeming value in this film. Indeed, I feel it is a mark of personal achievement in cinemasochism that I watched the whole thing. It is the self-indulgent tale, if it is a tale at all, of a young idealist (in the impossible sense) who is dumped and on the rebound falls in love with a second-tier fashion model with suicidal tendencies. The angst is completely out of Philosophy High School, the mimicry ranges from Godard to early Fassbinder to--heaven help us--Dali, and the costumes are painfully John Hughes (though the black-and-white spares us the full affront). It is a big-time failure, a student film that somehow got a budget--and yet, the reason I kept watching was because the first scene, with a pissed-off woman driving with a pair of skis jutting out of the windshield and a three-year-old girl on her lap, was most compelling. A more seasoned dirctor would have had her smoking, as well.
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