In 50 years of career, Richard Gere has experienced it all: anonymity and glory, decline then rise. He is an actor who, acting-wise, does little. When inspired, his interiority captivates and seduces, as in American Gigolo (The American gigolo), An Officer and a Gentleman (An officer and a gentleman), Cotton Clubeven Pretty Woman (A pretty woman). When he’s not, his minimalist approach becomes monotonous, as in… pretty much all of his films over the last 15 years. Fortunately, Gere bucked the trend with Oh, Canada, unveiled in Cannes recently, and where it is magnificent. Made just before this upcoming film, Longing feels like a bad memory.
This is a new version, by its original director and screenwriter, Savi Gabizon, of an Israeli drama released in 2017. Obviously, something was lost in the transposition… As it stands, Longing is a sad film for the wrong reasons.
The film stars Daniel, a very successful American businessman. In his perfectly regulated existence, every minute counts, and is therefore counted.
Obviously, in cinema, control means loss of control. This is what happens the day when Rachel, an ex whom Daniel has not seen for 20 years (Suzanne Clément, wonderful as usual, a light in the grayness of the film), tells him that they had a son, Allen…recently died in an accident. Double shock.
With such a starting point, Longing could have, and should have, resulted in the proverbial emotional roller coaster. However, it is not.
Indeed, what happens next turns out to be both improbable and frustrating.
Surface
So, after going to the funeral in Ontario, Daniel decides to stay longer in order to learn more about this son he never knew. He who, once, insisted on the fact that he never wanted to be a father (we will learn why) becomes obsessed with an idealized vision of the young deceased.
In a parade that is sometimes clumsy, sometimes redundant, friends, relatives and acquaintances paint a poor portrait that Daniel rejects. This is particularly true regarding a teacher that Allen harassed (Diane Kruger, all finesse), not that the film seems to take the full measure of what this means (there is sometimes uneasiness).
In any case, it could have been the opportunity for a fascinating psychological exploration from the angle of denial, but neither the film nor its star manage to make the protagonist’s approach credible or interesting.
In terms of production, Longing is just as unstimulating (the dream sequences: ouch!). Banal, the photo direction is to match. In short, while waiting for the release ofOh, Canadawho likes Richard Gere will abstain.