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Didn't See Any Tears... My Explanation for the Ending


The first time I viewed this movie several years ago, I thought the whole brothel/shooting part was just a fantasy of Severine's.

Now, viewing it again years later, I think something entirely different was going on.

In short, I believe that the brothel/shooting DID in fact happen. And Husson DOES tell Pierre the truth.

However, the truth never gets to Pierre- because he's asleep. Severine eventually realizes this soon after she enters the room, which explains her strange smile. Then a time jump forward occurs, where we see Pierre, having fully recovered from the shooting (and still clueless to his wife's past).

I believe the clues are in the subtle directing and editing following Severine's (expected) confrontation with Pierre following Husson's exit:

Let's breakdown the scene (with my subjective headings), starting with the scene where Severine enters the room, sits on the couch and
begins knitting.

- CUT 1: Shot of Severine sitting up and sewing, before sitting back with a look of resignation on her face.

- CUT 2: Shot of Pierre in the chair, sitting straight up.

- CUT 3: Shot of Pierre in the chair, slouched over to the side of the chair, pan to wrists facing up.

- CUT 4: Shot of Pierre in the chair, can't tell if he's sitting up or slouching, but you can definitely see that he's BREATHING.

- CUT 5: Shot of Severine sitting up and LEANING IN, glancing downwards briefly, then looking back towards Pierre with a SLOW SMILE (of realization) on her face.

- CUT 6: Shot of Pierre alive and healthy in the chair, asking Severine what she's thinking about.

- CUT 7: Shot of Severine SITTING BACK on the couch (subtle but noticeable difference between her end position in CUT 5, where she's leaning in). This is another sign that there is a time discontinuity between CUT 5 and CUT 6. She responds to Pierre's question. Note that you cannot see whether or not she is holding the knitting kit in her hands. This is important because it could be another clue of a time discontinuity between CUT 5 and CUT 6.

- CUT 8: Shot of Severine from behind the couch, talking to Pierre. Again you cannot see if she is still holding the knitting kit in her hands. Did Bunuel do this intentionally? I think so.

The fact that 3 different shots were used to show Pierre in a chair (rather than one simple continuous shot)is very important. It tells us that there is a time discontinuity between those shots.

Now the one thing that I disagree with, which I've seen posted here before, is the claim that Pierre is crying when Severine enters the room (ie he knows everything). I must have watched this final scene at least 10-15 times, paused it, etc., and have not seen anything that can be conclusively called a tear. I know some have claimed that a tear is clearly visible on the bottom of Pierre's left cheek. However, you'll notice that the "tear" is actually a hole (whether intentional or unintentional) in the cloth of the wheelchair.


So once again, in a nutshell:

- The fantasies and shooting DID OCCUR.
- Husson DID SPEAK to Pierre, however his words never got through because Pierre was asleep.
- There is no conclusive visual evidence to show that Pierre is crying (maybe this question will be answered in an HD-DVD/Blue-Ray release?).
- Severine is smiling because upon closer examination, she realizes that Pierre is sleeping (and that her secret is still be safe).
- The final scene takes place in the future, with a fully recovered (and still clueless) Pierre.


FIN (bad pun intended)

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Though of course there is no way that I can prove that your interpretation is wrong, as after all any reading of the ending is subject to interpretation. Your ending certinaly does make sense as do many others, however I would ask you, in the context of your ending, how does the empty landau fit in?
Thanks

"Thank God I'm an atheist"
Borderline obsessive

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You know, I just showed the movie to my folks tonight and they came away with 2 different opinions. I also noticed something that made me rethink my entire perspective. I'll type it up when I've got more energy...

Mooning-

I would agree with others and say that the empty carriage is a metaphor for a release of burden- be it guilt or fantasy. Or, if you also think about it, perhaps it was the only way to shoot the carriage. Putting ANYONE in the carriage would just be a distraction. If a random person was just sitting in the back, I would diminsh the impact of the ending. If it was a character from the film, it would either make things too clear or too ambiguous.

Either way, the more I watch this movie, the more I feel like the guy in Spoorloos. Is this not the most (and best) ambiguous film ever made? Unlike some David Lynch films or other French New Wave flicks like Last Year at Marienbad, everyone who sees Belle de Jour will come to their own (and valid) perspective, rather than just flatly saying "I don't get it."

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I quite agree, part of the genius of this film, and one of the reasons why it is my all time favourite. so many different readings of it, and each of them as valid as the last.

"Thank God I'm an atheist"
Borderline obsessive

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Ohwellre - I would agree with others and say that the empty carriage is a metaphor for a release of burden- be it guilt or fantasy

Perhaps, Severine/Bele de Jour at the conclusion of the film has reconcille to herself - no longer frigid towards her husband - therefore, no more need to fantasy.

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That's an interesting take on it, ohwellrl, I've just watched it and had a couple of ideas -

Severine is confronted by the reality of what has resulted from acting on her fantasies - hence all the dramatic pans and zooms on wheelchair-Pierre (as his fellow doctors now call him), and seeing that he is unresponsive, she continues her needlework (mending metaphor) demonstrating that she wants to return to normal life.

I disagree that there is a time shift in the final scene, but think that when Severine rests back thoughtfully and the tell-tale fantasy bells start jingling she enters into another fantasy, at which point Pierre miraculously is fit and well - she's fantasising about their future lives together.

What she's really feeling is relief, she and Pierre are no longer hiding anything from each other, and her sexual repression that found expression in erotic fantasies is gone. Thus the carriage - which had previously borne sadist-Pierre with raping coachmen, duellers and The Duke - passes by empty while she remains contented with Pierre.

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I would probably have to agree with you that the ending is another dream. Though I might change my mind about this later- it is the nature of the film. However for the moment, I also think it was a dream

"Thank God I'm an atheist"
Borderline obsessive

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I've just seen this film, and only once, and i missed the first ten minutes or so, only watching it from the point when the guy tells her where the brothel is, but my initial take was:

Since Severine was into humiliation--a result of her being molested as a little girl?--she allowed Pierre to be told of her infidelities, thus locking herself into eternal humiliation, which actually set her free, which is shown when her fantasy is finally of a happy normal life with Pierre (instead of having dung slung at her, etc)and the shot when the carriage is empty. I could not for the life of me tell if Pierre had a tear on his face or if it was just a small scar.

I'd like to see the film again, from the beginning. Perhaps that will change my conclusion, but for now, that's how I saw it. Total genius.

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Ishmael_Romanov - Very good conclusion...

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i just watched this recently and there are 100% tears of pierre's cheeks

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Just for the record, I also watched the DVD and there are definitely tears on Pierre's face. You can see on his right cheek a tear running down his face, then on his left in the next cut.

This ending baffled me (as most French film endings do!) Betty Blue, hello. Fat Girl. What?

I like everyone's interpretation that Belle is set free with the empty carriage. I'm having a hard time believing Pierre sprung up from the wheelchair though...I thought that was in her head. His tears and then the hands up position told me he was dead. She went into shock then started to fantasize he was alive and everything was ok.

That's what I'm thinking now, I'll keep reading your interpretations though, perhaps I will change my mind.... Great movie! Lots of style. I like it!

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I think the best impression for the ending is what zxtrueb says "Perhaps, Severine/Bele de Jour at the conclusion of the film has reconcille to herself - no longer frigid towards her husband - therefore, no more need to fantasy".

I do agree with you on the time shift thing. I don't think that's true. I completely agree with you on her confrontation with reality but I have to disagree on the mending metaphor. She's not mending, she's creating a patchwork (or however that's called, quilting maybe?) so it might be a metaphor of the future life she expects or dreams about. It's like a new begining.

The biggest thrill of a fantasy (ONLY when it's not pathological) like hers is getting caught. It brings closure, resolution to the need. It's the final clash between fantasy and reality. Since Pierre might not be completely conscious (his condition suggests brain damage) Severine has an oportunity to start fresh. No more need to fantasize.

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I kept thinking that the ending with the carriage coming into view fits pretty well with the beginning scenes where Pierre and Severine ride thru the park and Pierre suddenly turns on Severine and with the aid of the coachmen drags her into the woods to be punished. Punishing her for what? For her betrayal, of course. Which we then see unfold as the body of the picture.

This is a not uncommon structure. Remember the ending of LOLITA (Humbert riding along the highway to Quilty's) which meshes with the same scenes at the movie's beginning.

In BELLE DE JOUR, Of course, Severine would have to have changed from her black and white clothes to the red one she wore at the beginning. That wouldn't be uncommon either.

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ao do you think that the opening is a dream, and the explanation for why she has that dream is the rest of the film. i.e. she has already been a prostitute at Madame Anais' at this point, and Pierre already knows?

"Thank God I'm an atheist"
Bow down to Bunuel
Borderline obsessive

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I've seen the opening. Weird movie. Buying the Bunuel collection tonight so I'm going to watch the end then.

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hope you enjoy it!

"Thank God I'm an atheist"
Bow down to Bunuel
Borderline obsessive

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Hmm... On that frame, there was definitively a tear coming out of Pierre's right corner eye. That was the first thing I saw.

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ohwellrl,

I just watched this movie tonight on an 84" screen projected in upconverted high definition. The first thing I noticed on Pierre's right cheek is a long tear streak. Sorry, but this kind of discounts one of your thoughts on the ending.

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I think the ending was another dream by her. Throughout the whole film, Severine dreamed of being taken advantage of by other men. But now that her husband knows about her, she wants to be with him, and so dreams of him coming out of this paralysis state and being with him.

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Okay gang, I've just now seen the film and my opinion of the ending is this:
Pierre has a stroke and dies because of the bad news ( the limp upturned hand ), she promptly freaks out and enters a fantasy world and will not return ( the carriage being empty like her mind )

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I agree. I thought that the husband died in the end. And when she leans back, she only begins to dream again. One way or another she is free, whether he is dead or not, because the truth is out either way. The ending must be a dream of hers, seeing as the road she sees is absolutely different to the usual city centre road she sees from her balcony.

For the record, I do not think Severine was "into humiliation", I think it is too simple to dismiss it as that. She simply did not know at all what she "was into", and what she wanted to do was to try everything she could, which is why she succumbed to anyone's wishes. Experimenting for her was the only way to figure out what it was that made her happy.

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I definitely saw the tears. Clear as day.

I also don't think you can really nail down those points as if they were fact. It's all open to personal interpretation, and there's no right answer.

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I saw the tears as well and i think the empty carruage represents Severine being free of her burden... something like: now that the husband knows what she is they can be happy as a couple (in her naive idea) because i don't believe on the husband's full recovery (that scene would be just another of Severine's fantasy)

It was the second movie where i saw Catherine Deneuve as a Mental Patient, here as suffering from Paraphilia and in Polansky's "Repulsion" as a Psychotic... interesting coincidence!

MASTERPIECE! 10\10

"you are the homework.
no student at sight"
F.K.

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Facts - Severine is a masochist because she had a sexual experience as a child which made her feel guilty even though she was innocent. (shown when she refuses the wafer) She can only have sex when she has no choice. (dialogue in taxi about women in brothel)

The fantasies all have the coach/bulls/cats/bells/


So just before Husson arrives Severine (dressed nun like in masochistic dedication) says she does not dream anymore. After Husson tells Pierre what has happened she enters the room and with the truth out her sacrifice is no longer valid. She begins to dream again - Pierre is cured. (Bells/cats/coach) all reappear - telling you it is a dream. And if you are still unsure - the lines Pierre says are the same ones he says at the opening of the film.

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