By Gary M. Kramer –
Wild Reeds, our gay filmmaker André Téchiné’s classic coming-of-age film, will be re-released on DVD and Blu-Ray on March 28th, and the film, made 30 years ago, remains a moving queer drama.
The story shows the resilience of four young people who deal with war, their lives and their sexuality in France in 1962. François (Gaël Morel) is Maïté’s (Élodie Bouchez) best friend, but he doesn’t love her the way she wants or hopes. He’s coming to terms with his homosexuality – especially after an erotic encounter with Serge (Stéphane Rideau), a handsome classmate. Serge befriends François because they are opposites. While Serge, the son of partners, is down to earth and enjoys sports, François is an intellectual who doesn’t run because he has a heart condition. They develop a casual friendship; François writes a term paper for Serge and Serge helps François with his math homework. (A scene in which François reaches for notes that Serge tucked into his shorts is quite homoerotic.)
When François realizes he’s gay – in one haunting scene he admits his sexual identity in a bathroom mirror – he longs for another rendezvous with Serge. A shot of François hugging Serge on a moped captures the desire he feels, but knows in his heart it’s one-sided.
Morel’s sensitive portrayal anchors Wild Reeds because most characters revolve around him. (The film is reportedly based on Téchiné’s life.) François gains confidence after telling Maïte about his same-sex desires. She is encouraging: “It doesn’t change anything for me,” she tells him, although she’s heartbroken. François isn’t ashamed to be gay – at least that’s what he tells Henri (Frédéric Gorny), another classmate, when Henri provokes François about his sexuality. In fact, François is curious about what awaits him as a young gay man at a time when homosexuality is not accepted. His concern about this even leads him to seek advice from a gay shopkeeper in a quiet, powerful scene.
Wild Reeds takes its title from a fable in which a mighty oak tree falls over because it cannot bend in high winds, while a reed easily adapts to the dangers it faces. This is not only an apt metaphor for François, but also for the other main characters who are also having growing pains. Serge is devastated when his older brother Pierre (Eric Kreikenmayer) is killed in the Algerian War and becomes depressed. Trying to find a direction for his life, he works on the farm and gets married as he doesn’t expect to pass high school.
Meanwhile, Maïte’s mother, Madame Alvarez (Michèle Moretti) – François, Serge and Henri’s teacher – suffers from enormous guilt over Pierre’s death. He begged her to help him avoid duty, but she refused. She quits her job and takes a sleep cure. After Monsieur Morelli (other than actor/director Jacques Nolot) takes over the class, he tries to encourage Henri to get more involved, but the young man, now 21, is at an age to make decisions about his own future.
The changing situations eventually focus less on François and more on Maïte. At the beginning of the film, François hopes that Serge and Maïte could become a couple; He instructs her to take care of Serge during his brother’s funeral. Instead, despite their opposing political ideologies, she takes an interest in Henri. (Maïte is a communist, and Algerian-born Henri supports the resistance organization OAS.) Maïte and Henri meet one evening and eventually give in to their wishes.
Téchiné’s cozy film is engaging as these episodes unfold and never gets soapy as the characters find their way. Even in the most melodramatic moments, like when Madame Alverez collapses in class, the film doesn’t overdo the emotions. Téchiné immersed viewers so completely in the lives of his characters that it’s easy to empathize with them.
In addition, the director filmed the characters lovingly. As François watches Serge exercise – Téchiné’s camera, a replacement for François, practically fetishizes Rideau’s body – his longing is palpable. Also. A scene of classmates frolicking in a river oozes sensuality while showing the confidence every teenager has developed. The film lets the characters grow organically, and the naturalistic style and realism reinforce the emotional investment.
Wild Reeds offers strong historical detail, from a number of American pop songs on the soundtrack to the clothing and set design, the posters and more. Perhaps because it’s a historical piece, the film doesn’t feel dated despite being 30 years old.
The ensemble cast of relative newcomers leaves a strong impression here. Morel directed several gay films including Full Speed, Three Dancing Slaves and Our Paradise which starred Rideau, an actor perhaps best known for the gay romance drama Come Undone.
At the time of its initial release, Wild Reeds received four Cesar Awards (the French Oscar) for Best Picture, Best Director, Best Screenplay and Most Promising Actress for Bouchez. It’s a beautiful, moving drama that deserves to be seen – or seen again.
© 2023 Gary M Kramer
Gary M. Kramer is the author of Independent Queer Cinema: Reviews and Interviews and Associate Editor of Directory of World Cinema: Argentina. Follow him on Twitter @garymkramer
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Published on March 23, 2023
