La Piscine à la Amsterdam
by Iclal Akcay
Watching a film in the open air in Amsterdam, especially on Java Island, is not an easy task. Despite the news about outrageous 40-degree weather in some Mediterranean countries, these wind-country residents only taste the “Southern climes” via a movie by Jacques Deray. I spent an extra ten minutes looking for a Cashmere sweater in my summer wardrobe before running to the open venue, located across from the artistically sober Lloyd Hotel, so I was late and missed the first part of the movie. The setting is fantastic. This art lovers’ hotel’s little square, which normally serves as a pier to its customers arriving by boat, is filled with wooden benches and framed by a magical white screen. Drinks offered from the hotel’s mobile bar contribute to the intimacy.
I’m there with two friends. It took us three phone calls to find each other in the dark. As soon as we sit down, we take the liberty of making comments about everything during the entire film. This apparently upsets the guy sitting in front of us, causing him to move to the other end of the row in a silent protest, leaving me a bit embarrassed and feeling aloof. Whatever! We’re in sunny Côte d’Azur now.
Deray’s people, oblivious to the rest of the world beyond their problem-free setting, seem to be extremely content with their superficial lives of fun, fun, fun. As the story goes, Marianne (Romy Schneider) and Jean-Paul (Alain Delon) face an unexpected distraction at their love-nest villa in fashionable Saint-Tropez by the couple’s friend and Marianne’s ex-lover Harry (Maurice Roney) and his beautiful adolescent daughter, Penelope (Jane Birkin), who come to visit them.
During those lazy summer days, Marianne (an older-looking Romy Schneider) walks around confidently with a stiff hairdo, overly chic dresses and thick make-up. Determined to improve the atmosphere, a rather flamboyant Harry brings back a herd of “party people” each time he hits town in his convertible sports car. As Marianne flirts shamelessly and erotically with Harry at these parties, a more distant Jean-Paul uncomfortably becomes attracted to his friend’s daughter in front of an oblivious crowd.
Clearly led by their baser instincts, the main characters’ daily lives are disrupted by the murder of Harry by Jean-Paul in a wild attack at night during an argument when his friend insults him. The death scene is interesting and oddly resembles the murder scene in Visconti’s Stranger, adapted from Camus’ giant literary piece, which could be presented as perfect material for studying murder as part of human psychology. Both scenes are far more intelligent than their contemporaries in their study of “the moment of murder,” and they depict the background of a murderer’s act. In Deray’s La Piscine, a drunk Jean-Paul perhaps does not intend to kill his even more drunk friend, Harry. He rather tries to push him away with a piece of wood, wanting to silence his disturbing voice, just to get rid of him.
The unraveling drama results in transforming Marianne from an older, rejected woman, whose significance had been diminished by the emergence of the adolescent Penelope, into a woman of determination through the unfortunate event. Armed with the knowledge that could destroy her lover—that he is a murderer—she becomes strangely empowered by the surprising unfolding of events. She does not miss the opportunity to save Jean-Paul simply by lying to the detective. Through this act, she is spiritually and emotionally reborn, as this mission gives her all she needs: a fulfilling existence! She now is a caring mother. Although not wanting to be with her lover any longer, when her powerful detachment relights the fire in Jean-Paul, her real transformation takes place back in his arms; she becomes a magnet, a love goddess.
My friends don’t both agree with my conclusion about the affair. Being a scientist, Sofia intuitively grabs the essence of the hollowness in the movie. She has spent the last three years in chemistry labs of two different countries suffering intensively from being far away from her ex-boyfriend, Nick, who stayed at his parents’ home in a lazy village in southern Britain, spending his time writing application letters to different research centres around Europe. Our other friend, also coincidentally named Nick, rises to suggest going inside the hotel to get warm drinks. Sofia agrees and I follow them. In a minute, we’ve forgotten about the movie and collectively investigate the possibility of a reunion between Sofia and Nick while finding comfort in complaining about the lousy weather. It’s everybody’s favourite subject here. The kind of summer we long for, a Mediterranean one that is, never arrives in our city. And if it ever does, we all agree that it happens when we all are on holiday in a distant, warm country.