Watch: De battre mon cœur s’est arrêté 2005 123movies, Full Movie Online – Will Thomas still lead a life of crime and cruelty, just like his thuggish father, or will he pursue his dream of becoming a pianist?.
Plot: Like his father, Tom is a real estate agent who makes his money from dirty, and sometimes brutal, deals. But a chance encounter prompts him to take up the piano and become a concert pianist. He auditions with the help of a beautiful, young virtuoso pianist who cannot speak French – music is their only exchange. But pressures from the ugly world of his day job soon become more than he can handle…
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|N/A Votes: 19,830|
|86% | RottenTomatoes|
|75/100 | MetaCritic|
|N/A Votes: 355 Popularity: 8.146 | TMDB|
This movie doesn’t skip a beat
The premise is far-fetched but simple. Approaching thirty, Tom Seyre (Romain Duris) is working hard as an enforcer and violent rent collector for his dad, a scumbag real estate tycoon (Niels Arestrup). But a chance encounter starts him thinking he might be the talented concert pianist he once dreamed of, in the image of his late mother. Without stopping his usual work he tries to prepare an audition.
Based on a flop more admired in France than the US, James Toback’s 70’s Harvey Keitel vehicle about a violent would-be pianist, “Fingers,” this compulsively watchable, thrillingly accomplished new movie by Jacques Audiard (“De Battre mon cur s’est arrêté”, still showing in Paris as it opens here) echoes his previous compellingly offbeat “Read My Lips” in grafting together two separate moral universes. Read My Lips depicted the odd alliance of a firecracker ex-con (Vincent Cassel) and a mild-mannered but angry hearing-impaired office worker (Emmanuelle Devos). It was an intriguing piece — but seems low energy in retrospect compared to this. Audiard has made a powerful actors’ movie in which Duris blooms, a powerful actor now, playing in effect both the Cassel and the Devos parts and acting out the resulting implosion of violence and frustrated artistic passion with astonishing zest. It’s hard to believe he was the tame college student narrator of Klapich’s “L’Auberge espagnole” three years ago.
Duris as Tom is good-looking but vaguely burnt-out, his eyes a bit crazy, his hair neatly coifed, his jaw firm, has mouth a smiling snarl. The camera is on that square jaw every minute. Uniformed in boots, smart pants, tie and trim leather jacket, he’s an elegant young hoodlum who can switch to a dark suit for a real estate hearing or audition, or wipe the blood off his cuff to enter a café or concert hall. He’s angry all the time but brings vibrant energy to both of his conflicting lives. Tom finds a beautiful long-haired young master pianist called Miao Lin (Linh Dan Pham) to coach him in piano. These encounters with the keyboard he approaches like a prize fighter going at a punching bag. If he’s an artist it’s the hairy-chested, coiled, macho kind. How can you teach anybody pianistic excellence? The impossibility of the process is signaled by the teacher’s speaking no French. She harangues Tom in Vietnamese, or just says in English over and over, “again” Or “no.” Or “no smoking allowed.” A cup of tea in the kitchen at end of session. Tom goes at the same piece over and over, a Bach Toccata. This relationship is an “oasis of calm” in Tom’s otherwise ‘loca’ ‘vida’ — the contrasts in such a piece as this are telegraphed without much subtlety — but the unconventionality of the pair helps the scenes to avoid cliché. And the intensity is just as focused in these quiet moments.
There are other strong relationships. Tom isn’t isolated; he works with partners, one of whom uses him to hide his two-timing from his wife. Arestrup, who looks like a French version of late Brando, is superb as the blowsy, burnt out father, a big sensualist, an irresistible presence, always smoking drinking and eating, soft but nasty, irritating but impossible for Tom not to love and protect. Tom pursues Minskov (Anton Yakovlev), a Russian Mafioso his dad has tangled with, and winds up sleeping with Minskov’s French girlfriend as well as somebody else’s wife. Every encounter he has is reckless and intense. Duris doesn’t fail us in any of this. Emmanuelle Devos is his dad’s new girlfriend, whom Tom first calls a whore and rejects and then wants to hire on to calm things on the home front. Where’s it all going to end? Despite all that’s going on, as one French critic said, “there’s no fat” in this picture. The pushes and pulls of the hero’s dilemma make for fabulously kinetic editing and the action never goes soft. A final sequel resolves things. Some say it’s milder than the American version, but that’s overlooking the visceral punch of the action throughout. The dialogue underlines that just as in Read My Lips, people aren’t communicating too well. It may be music is all that links them.
The shortcomings of such a movie are its simplifications. The crooked real estate life like the classical pianist life can be no more than impressionistically dabbed in. And there’s an occasional danger that Romain Duris — who studied piano for months with his pianist sister for the keyboard sequences — may be trying too hard sometimes. Since Tom also loves electro which he listens to with big headphones in his car — as the word is Duris himself does — classical music maybe doesn’t grab the film as wholeheartedly as it ought to. You can’t expect profundity but from the sound of “Fingers,” this is more accomplished film-making. It may not have as much conviction, but this is wildly entertaining. And more than that, it’s a movie where everything comes together, scenario, actors, editing. Audiard, who showed us dark secret places last time, now reveals himself a virtuoso of violence and passion.
Portrait of the artist as a young hoodlum
Tom Seyr (Romain Duris) is a nattily dressed 28-year old Parisian real estate debt enforcer who works for his father (Niels Arestrup), a sleazy housing profiteer. Seyr and his low-life buddies, Fabrice (Jonathan Zacca) and Sami (Gilles Cohen), acquire property for resale at a profit, making certain by any means necessary including violence that all squatters are removed. When a chance encounter opens the possibility for the opportunity for Tom to become a concert pianist like his mother, he finds that breaking away from his past is not so easy. Winner of eight César awards including best film and best director, Jacques Audiard’s The Beat That My Heart Skipped is a loose remake of James Toback Fingers starring Harvey Keitel. In Fingers, Keitel plays the son of a gangster and a concert pianist who is torn between the efficiency of his father’s profession and the passion of his deceased mother.
The Beat That My Heart Skipped is shot with dark colors to create a mood of foreboding. It is not all atmosphere, however. Audiard uses disorienting jump cuts, bizarre camera angles, and a hand-held camera close to the character’s anatomy to create a frenetic pace and energy to spare. Romain Duris, a young French actor loaded with talent and charisma, plays the tightly wound Seyr with manic intensity. He is an operator on the lowest level, beating up restaurant proprietors that are delinquent in their bills and unleashing rats in a tenement to drive out the squatters. He seems to relish the jobs he is asked to do but still dreams of becoming a concert pianist. When he runs into his mother’s former concert manager, (Sandy Whitelaw) he asks for the opportunity for an audition, then engages a petite Chinese piano teacher Miao Lin (Linh-Dan Pham) to assess his abilities. Since he does not speak Chinese and she does not speak French, the film could have been called Read My Lips II.
Miao is a civilizing influence and tries to stop Seyr from attacking the piano as if he was clubbing a tenant behind in his rent but cannot put a lid on his temperament. Their relationship develops slowly but erupts as both explode in frustration at his inability to follow instructions or master Bach’s Toccata. To make life even more complicated, he is having an affair with his best friend’s wife, and also brazenly seduces a mobster’s girlfriend. While continuing to develop his artistic sensibility, Seyr carries out his father’s suggestions to “take care” of recalcitrant payees, presumably out of love or guilt or both. He is very protective of his father and does not refuse his requests, though he has little respect for him, telling him that the woman he is thinking of marrying is a whore.
When Seyr agrees to take on Minskov (Anton Yakovlev), a Russian Mafia boss who does not keep his promises, it is clear that he is in over his head and he begins to rethink his relationship with his father. Audiard captures the character’s nervous intensity and brings the macho sub-culture of Paris to life, yet the film lacks any semblance of warmth. The Beat That My Heart Skipped is about choices and the willingness to change our direction in life and we relate to Seyr’s struggle with different sides of his personality. While Duris’ performance rings with a fundamental honesty, I found it difficult to locate a common humanity with this dark, shady man. His cold, abrasive personality and the film’s gratuitous violence make this portrait of the artist as a young hoodlum difficult to embrace. Somehow thuggery against poor people and the humanity of Beethoven or Mozart seem incompatible. While there is a lot to admire here, for me it is a film that my heart skipped.
Original Language fr
Runtime 1 hr 48 min (108 min), 1 hr 47 min (107 min) (Germany), 1 hr 48 min (108 min) (Japan), 1 hr 48 min (108 min) (USA)
Rated Not Rated
Genre Crime, Drama, Music
Director Jacques Audiard
Writer Jacques Audiard, Tonino Benacquista, James Toback
Actors Romain Duris, Aure Atika, Emmanuelle Devos
Awards Won 1 BAFTA Award21 wins & 14 nominations total
Production Company N/A
Sound Mix DTS, Dolby Digital
Aspect Ratio 1.85 : 1
Camera Aaton 35-III, Cooke S4 Lenses
Laboratory Laboratoires Éclair, Paris, France
Film Length 2,932 m (Italy)
Negative Format 35 mm (Kodak Vision2 500T 5218, Vision 500T 5279)
Cinematographic Process Spherical
Printed Film Format 35 mm (Kodak Vision 2383)