Before Midnight

This is the final part of Richard Linklater’s relationship trilogy which began with Before Sunrise in 1995, followed by Before Sunset nine years later.

Nearly two decades from when they first met, Jesse (Ethan Hawke) and Celine (Julie Delpy) are now a couple living in Europe with twin daughters conceived almost immediately from when they first re-met 9 years ago – Jesse also has a son from his long-extinct marriage who resides with his mother in Chicago. Whilst both successful in their careers, Celine is somewhat in the shadow of Jesse, a successful novelist.

At its very core, the film is essentially a dialogue between the couple as they explore their relationship and where their future lies – both physically and spiritually.

A film of only a few extended acts, it is at its most powerful and engaging when Delpy and Hawke are by themselves with no distractions. One scene of around 20 minutes duration is a single take, a static camera merely the recorder of a conversation between the two as they drive back from the airport having dropped off Jesse’s son after a summer vacation.

Relatively speaking, the film is less successful when it broadens out and introduces peripheral characters. The scene as they enjoy an al fresco lunch at the writers’ retreat where they have been staying for the summer seemed to consist of the other participants merely taking it in turn to give a speech, although it was masquerading as a conversation. That the speeches sometimes bordered on the pompous was, however, quite deliberate on Linklater’s part, I’m sure. And the criticism needs to be put in context – even when not at its best, it is still far superior to most other fare.

In total, the film does little more than follow a successful and well-heeled couple as they talk and discuss, sometimes heatedly, their relationship. It centres on first-world problems – ‘Do we live in Paris? Do we live in Chicago? Do you believe your successful career to be more important than my successful career?’ Were the film made by lesser talents, it might possibly be insufferably maudlin, bordering on self-pity. That it successfully steers well clear from this and presents a completely believable couple, is a testimony to its superior writing, direction and terrific acting from both Delpy and Hawke, both of whom are totally flawless. It draws you to believe that despite their apparent enviable lifestyle, the quest for domestic bliss is classless and every bit as difficult to attain no matter how wealthy you may be.

The film is minimalist – the scenes are long, camera angles rarely vary and the only incidental music is the very occasional tinkling of a completely unobtrusive piano. Everything is geared to have focus on the extensive but never overwhelming dialogue. The linking shots, in fact all the cinematography set outside, capture extremely well Greece’s wonderful light.

It is doubtless preferable to have seen the earlier two films in this series, but anyone coming new to it should have no problem picking up the story and concept. And they will also, I am sure, then wish to look out the first two segments.

All involved in this project, deserve plaudits for embarking on such a long-term venture and seeing it through with such class – and it oozes class. Richard Linklater, again with Ethan Hawke, currently nears the end of a 12 year project, Boyhood, following the story of a boy growing up with divorced parents. The self-taught Mr Linklater is clearly a film-maker who thinks ahead.

****

Tim Meade