De battre mon coeur s’est arrêté
Battre mon coeur s’est arrêté, De (2005)
★★★ / ★★★★
Writer and director Jacques Audiard posed a classic nature versus nurture question about a man in his late twenties (Romain Duris) who wanted to remove himself from a life of crime and to recapture his talent in playing the piano. His time was torn on two fronts: his father (Niels Arestrup) who made dishonest real-estate deals and his piano lessons with a recent immigrant (Linh Dan Pham) who taught him discipline and how to relax. This film had an exceptional use of tone. The push-and-pull forces that the character experienced were often reflected by the music that we heard (electro versus classical) and the images we saw (indoors versus outdoors, night versus day, order versus chaos). Since the film spent equal time between each forces, I understood the character’s anger because nobody believed in him. When he would tell someone of his extracurricular activities, the person would imply that he was too old and he was no longer a talented pianist that he once was. Naturally, his anger was fueled and so did his need to prove that he was good enough. I immediately related with the things he went through so I knew that his biggest enemy was ultimately himself. Since he never received approval from his distant father who only contacted him for favors, he tried to look for approval from other people which involved him sleeping with other women (Mélanie Laurent, Aure Atika) and moving on just as quickly. The reviews I encountered made a point about the movie not really going anywhere and the ideas were much larger than the final product. I disagree because Tom’s journey wasn’t about but life-changing revelations provided by those who surrounded him. Although he tried to look for answers by looking at others, the ultimate lesson was looking inwards and realizing that he had to love himself whether he still had the talent or otherwise. I thought the film was thoughtful about its arguments without spoon-feeding its audiences critical information and had a quiet power that moved me the more I thought about it afterwards. “De battre mon coeur s’est arrêté” or “The Beat That My Heart Skipped” could have easily been an obvious story of a man wanting redemption. Instead, it chose the more intelligent and sensitive path by allowing us to feel for, although not necessarily pity, the tortured protagonist. The film was also successful at asking us about our own lost potential.