The film’s title describes Bauby’s cell in his own head (the diving bell) and his undeterred creativity (the butterfly), and as deep as the title is, the film is even more so, as perfectly layered a film as you will find in recent years. There are enough flashbacks to before Bauby’s stroke to remind him why his new work is so important and to give the audience a break from the tedium of watching actresses recite the alphabet in French.
It also allows Mathieu Amalric a chance to showcase an impressive range from lover to dutiful son and from jetsetter to father, and seeing all these sides of Bauby add gravity to his narration during those scenes when he is trapped inside himself.
There have already been ample awards considerations for this film. It’s shocking to learn that the good people behind the Oscars, the AMPAS, have such stringent rules in place that this is not eligible to win Best Foreign Language Film because of its percentage of American financing.
It will be eligible for Best Picture, however, and should receive a nomination; it’s the movie that takes the biggest risk and has, arguably, the greatest reward. It’s the most original and most human film of the potential nominees. And if an actor ever deserved a nomination for two scenes of work, then it would be Max Von Sydow, providing a divinely heartbreaking supporting appearance as Bauby’s father.
Beyond golden statues and all the rest, The Diving Bell and the Butterfly is a daring, intelligent film that makes you think while you can’t help but feel. It’s immediately different from anything you’ve seen and never disappoints, no matter how disappointing the circumstances for Jean-Dominique Bauby become.
The Diving Bell and the Butterfly
Starring Mathieu Amalric, Emmanuelle Seigner and Max Von Sydow
Directed by Julian Schnabel
Rated PG-13
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