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Before Sunset is a 2004 American film and the sequel to Before Sunrise (1995). Like its predecessor, the film was directed by Richard Linklater. However, this time Linklater shares screenplay credit with both actors from the movies, Ethan Hawke and Julie Delpy. Linklater also shares story credit with the original Before Sunrise screenwriter Kim Krizan. The film picks up the story in Before Sunrise where an American young man and a French young woman meet on a train and spend one night in Vienna. Nine years later in Before Sunset, their paths intersect again. It plays out in real time as they spend one afternoon together in Paris. The film is both a commercial and critical success, with its script garnering an Academy Award nomination for Best Adapted Screenplay.
[edit] Plot summaryNine years have passed since the events of Before Sunrise, when Jesse (Hawke) and Celine (Delpy) had met in Vienna. Since then, Jesse has written a novel, This Time, inspired by his time with Celine, and the book has become an American bestseller. To help sales in Europe, Jesse does a book tour. The last stop of the tour is Paris, and Jesse is doing a reading at the bookstore Shakespeare and Company. As Jesse talks with his audience, flashbacks are shown of him and Celine in Vienna; the memories of their night together have clearly remained with him despite nine years having elapsed. Three journalists are present at the bookstore, interviewing Jesse: a romantic who is convinced the book's main characters meet again, a cynic who is convinced that they don't, and a third one who, despite wanting them to meet again, remains doubtful they actually do. Celine appears in the audience and sees him, and he, in turn, recognizes her. However, once the presentation is over, the bookstore manager reminds him he has a plane to catch and must leave for the airport in a little more than an hour, and so just like in Before Sunrise, Celine and Jesse's reunion is constrained by time. As in the prequel, the characters are forced to make the best of the little time they have together, making it easier for their conversations to become ever more personal, beginning with the usual thirty-something's themes of work and politics and then, with ever increasing passion, approaching their love for each other, just as their time together is running out. Early in their conversation, they broach the subject of why they did not meet as promised, six months after their first encounter. It turns out that Jesse had returned to Vienna, as promised, but Celine did not, because her grandmother had suddenly died before the scheduled date of the meeting. Because Jesse and Celine had never exchanged addresses, there was no way for them to contact each other, which resulted in their missed connection. As they talk, each reveals what has happened in their lives since first meeting. Both are now in their early thirties. Jesse, now a writer, is married and has a son. Celine has become an advocate for the environment, lived in America for a time, and has a boyfriend, a photojournalist. It becomes clear in the course of their talk that both are dissatisfied to varying degrees with their lives. Jesse reveals that he only stays with his wife out of love for his son. Celine says that she does not see her boyfriend very much because he is so often on assignment. Their conversation as they traverse Paris takes place in various venues, including a café, a garden, a bateau mouche, and Jesse's hired car for his stay in Paris. Their old feelings for each other are slowly rekindled, even with tension and regret over the missed meeting earlier, as they realize that nothing else in their lives has matched their one prior night together in Vienna. Jesse eventually admits that he wrote the book in the distant hope of meeting Celine again one day. She replies that the book brought back painful memories for her. At one point, in the hired car, during a tense moment when Jesse is confessing his loveless, near sexless marriage, Celine reaches her hand out to touch Jesse but pulls back just as he turns to her. In the concluding scene, Celine and Jesse arrive at her apartment. Jesse had learned that Celine plays the guitar and persuades her to play a waltz song for him. The waltz (written by Delpy) is revealed through the lyrics to be about their brief encounter. Jesse then plays a Nina Simone CD on the stereo system. Celine dances by herself to the song "Just in Time" as Jesse watches her. As Celine imitates Simone, she mutters to Jesse, "Baby ... you are gonna miss that plane." As the camera slowly pans in, Jesse smiles while nervously fidgeting with his wedding ring and ambiguously responds, "I know," leaving the viewer to guess whether he stays or leaves, just like the three journalists who interviewed Jesse at the beginning of the film. [edit] Cast
[edit] ProductionThe movie was filmed in 15 days, on a budget of about US$2 million.[2] Hawke commented on the reason for making the film:
This film is noted for its use of the Steadicam for tracking shots and its use of long takes, with the longest of the Steadicam takes at about 11 minutes.[2] Noteworthy too is that the film takes place essentially in real time, i.e. the time elapsed in the story is also the run time of the film. Furthermore, the sequel was also released nine years after Before Sunrise, the same amount of time that has lapsed in the plot since the events of the first movie. Hawke had suggested the possibility of further films in the series. He said that it would be nice to develop further the course of their relationship.[4] The film appeared in the wake of Hawke's divorce from Uma Thurman, and some commentators drew parallels between Hawke's own life and the character of Jesse in the film.[5] Additional comment has noted that both Hawke and Delpy incorporated elements of their own lives into the screenplay,[2][6] such as the fact that Delpy lived for several years in New York City. Delpy also wrote two songs featured in the film. A third was included in the closing credits and movie soundtrack. [edit] ReleaseBefore Sunset premiered at the Berlin International Film Festival in February 2004, and received a limited release in the United States on July 2, 2004. [edit] Box officeIn its opening weekend, the film grossed $219,425 in 20 theaters in the United States, averaging $10,971 per theater. During its entire theatrical run, the film grossed $5.8 million in the United States and nearly $16 million worldwide.[1] [edit] Critical receptionBefore Sunset has earned very positive reviews since its release. It currently holds a 94% positive rating on Rotten Tomatoes[7], and was assigned a weighted average score of 90 out of 100 by Metacritic based on 39 reviews from mainstream publications.[8] It also appears on 28 critics' top 10 lists of the best films of 2004.[9] It was ranked as the 110th greatest movie of all time by a 2008 Empire poll.[10] In comparing this film with the original, film critic Roger Ebert wrote, "Before Sunrise was a remarkable celebration of the fascination of good dialogue. But Before Sunset is better, perhaps because the characters are older and wiser, perhaps because they have more to lose (or win), and perhaps because Hawke and Delpy wrote the dialogue themselves."[11] Manohla Dargis of Los Angeles Times lauded it as a "deeper, truer work of art than the first", and complimented director Linklater for making a film that "keeps faith with American cinema at its finest".[12] In reviewing the acting, Peter Travers of Rolling Stone observed, "Hawke and Delpy find nuance, art and eroticism in words, spoken and unspoken. The actors shine."[13] Philip French of The Observer wrote, "Both Hawke and Delpy are excellent and their performances have real depth. This time, too, they're doing more than appearing as fictional creations in a Richard Linklater film. They now share the writing credit with him and are clearly putting much of their experiences of the past decade into characters they have possessed and been possessed by."[14] On the merits of the script, A.O. Scott of The New York Times noted, it was "sometimes maddening", but "also enthralling, precisely because of its casual disregard for the usual imperatives of screenwriting." He further elaborated, "Can't they just say what they mean? Can you? Language, after all, is not just about points and meanings. It is a medium of communication, yes, but also of avoidance, misdirection, self-protection and plain confusion, all of which are among the themes of this movie, which captures a deep truth seldom acknowledged on screen or in books."[15] [edit] Awards and nominations
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