这部电影讲述了当代巴黎三个女孩的故事。一个人寻找她失去的母亲，因为她知道她被收养了。另一个已经从昏迷中走出来，除了他神秘的父亲之外，还需要一段恋爱关系。第三个是通过爱来救赎自己的骗子。该动作由歌曲和舞蹈套路评论。

It’s almost too charming a rhythmic curio, three young women in Paris, Ninon (Richard) is a gamine courier, but also a petty crook who is mad keen on dancing, whether she has a partner or not; Louise (Denicourt), a banker’s daughter who recently wakes up from a coma, trying to reconnect with the world; then there is Ida (Côte), an introvert librarian who loves to talk to her pet cat, and is possessed to discover who are her birth mother.

From French New Wave doyen Jacques Rivette, made in his latter years, UP, DOWN, FRAGILE traverses through the three girls paths in a laidback mood, sometimes, their paths are crossed, Ninon and Louise even gang up against Roland (Marcon), a cagey business man who mislays his charm, he might think himself a sophisticate, but like as not, you will find him a bore, his amorphous interiority is a void, you couldn’t care less about him. To a point, it is a good relief when it turns out Louise takes a shine, not to Roland, who even concocts an ingenious trick to cure her acrophobia, but to the first-time bodyguard Lucien (Todeschini), who is hired by Louise’s father to protect her, and how funny it is Louise who saves him from a mugging in the park, obviously there is neither damsel in distress, nor creepy stalker in Rivette’s book, coup de foudre is normalcy.

The loose plot also involves Anna Karina’s Sara, an aging chanteuse who may or may not be Ida’s birth mother, and musician Enzo Enzo as herself, enchanting us with her jazz-infused aroma. Everyone is fleet-footed, Rivette arranges the dancing-and-singing numbers arbitrarily, a technique would continue to be practiced by Christophe Honoré. Sometimes characters sing and dance when you least expect them to, and the choreography boosts a faux-spontaneity that can be perceived as deliberation if it is overused, that’s why the numbers are spotty. However, Marcon is dumpy and an ungainly dancer, whenever he hoofs it, it is distractingly unprepossessing.

Charisma-wise, Denicourt is amiable, graceful and magnetically self-possessed, whereas Richard is at her best when she loses herself on the dance floor, she is corybantic, but with just enough moderation, and their rapport feels genuine. As for Côte, she skillfully interprets Ida’s monomania with apt brittleness and forlornness, but her screen-time is the leanest among the triad, to Yours Truly’s lights, Ida is the most fascinating character and deserves more (inter)actions.

Everyone has ups and downs, even the toughest carapace cannot negate our fragile innards, UP, DOWN, FRAGILE is a celebration of modern women’s independence without miring them down with clichés, its modality seems cavalier but also immensely witty, and caprice abounds, moreover, Rivette is a maven of two-shots, through which interpersonal dynamism bulks large in every single frame.

referential entries: Rivette’s WOMEN DUELLING (1976, 7.3/10); Christophe Honoré’s LOVE SONGS (2007, 7.1/10).

English Title: Up, Down, FragileOriginal Title: Haut bas fragileYear: 1995Genre: Comedy, Music, MysteryCountry: FranceLanguage: FrenchDirector: Jacques RivetteScreenwriters: Jacques Rivette, Laurence Côte, Marianne Denicourt, Nathalie Richard, Pascal Bonitzer, Christine LaurentMusic: François BréantCinematography: Christophe PollockEditing: Nicole LubtchanksyCast:Marianne DenicourtNathalie RichardLaurence CôteAndré MarconBruno TodeschiniAnna KarinaWilfred BenaïcheEnzo EnzoStéphanie SchwartzbrodPhilippe DormoyMarcel BozonnetLászló SzabóRating: 7.6/10
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