Guy and Madeline on a Park Bench (2010)

Touches You

Good concept, poorly executed.

Best movie ever!

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

Damien Chazelle's first feature length film isn't an easy one to dissect. Filmed like an early John Cassavetes' movie and told with little to no dialogue at all, Guy and Madeline on a Park Bench is much more so an exploration into how difficult it is to maintain love than it is a musical like Chazelle's latest feature, La La Land. But it's Chazelle's grasp on the ups and down's of relationships that make this yet another interesting directorial effort from him. All 3 of his films to this point have involved Jazz, and all 3 of them have also dealt with characters trying to balance their love life with pursuing their Jazz related dreams. 'Guy and Madeline' isn't as intense as Whiplash nor as viscerally memorable as La La Land, but for a first- time feature, it definitely impresses. An occasional dance number, unique camera movement, and long unedited takes make for quite the viewing experience. Again, there's little dialogue, so I can't say I was as invested in the characters as I should have been, but sometimes scenes are more powerful when less is said (see: the final scene). If anything, this was an interesting watch considering all we know about Chazelle's career up to this point.6.7/10

This is a sweet film. I was very impressed with the film editing because the film is beautifully set to a jazz soundtrack motivated by the narrative since the male protagonist ("Guy" of the title) is a jazz trumpet player. The film not only depicts the romance of the leads (Guy and Madeline), but also the city in which they live. I really enjoyed the beautiful city shots, both in Boston and New York. The soundtrack is great - especially the jazz, including that played by Guy, but not only. The film is full of references to French post-war films so it's added fun to watch for the expert as well. The director did a lot with the camera, so it works well that the film is rather sparse in dialog. The actors' faces say everything. The lead performers, in particular, were outstanding: their faces are extraordinarily expressive. The moments when the actors break out in song and dance were just pure fun.

Damien Chazelle, the director of this film, was clearly influenced by some of the French New Wave directors, particularly, Jean-Luc Godard, as well as others, but it is obvious he likes that period. His style gives the viewer a feeling of being somewhat improvisational as he takes his camera into the Boston streets to illustrate the story he wanted to tell. The film shot in black and white takes the viewer to another era when movies were perhaps more spontaneous and without a rigid story line."Guy and Madeline on a Park Bench" is easy to take, but after a while, one wonders what did Mr. Chazelle had in mind. It is clear the director is more concerned on the style and look he wanted to give the finished product rather than the substance of the story. It is a simple tale about love between two young people. He is a black trumpet player and she is a waitress. Their romance does not last long. Guy goes after other women and Madeline wanders aimlessly through the streets of the city. Eventually, as if fated, the lovers will come back together.It is easy to see Damian Chazelle has talent and it would be interesting to hope he will do better next time. He succeeds in the choice of music one hears in the background. Jason Palmer's Guy is a pleasant young man who probably expected more of his involvement with Madeline. Desiree Garcia, on the other hand, makes a wonderful introspective case of her Madeline.

Shot in black and white on a hand-held 35 mm DXL Supreme MP, Guy and Madeline on a Park Bench is a period piece without a period, a beautiful glimpse into a world without beauty, a heart-rending portrayal of the heartless. The film swings (no pun intended :)!!) between tortured silences and undistilled brassy mirth, with a fantastic debut performance from trumpeter and lead man Jason Palmer.Chazelle's entrance onto the scene is nothing short of momentous, an omen of good things to come in a struggling industry. He brings art and subtlety back to a genre that has recent been diluted by big Oscar grabs (Chicago, Dreamgirls, Cadillac Records) and will be sure to make an impression at Tribeca.This film would be a perfect ten, were it not for Bernard Chazelle's somewhat tepid makeout scene. Go for it, man! When else will you find yourself with a beautiful and eager girl half your age ... on camera?! Other than this one shortcoming, which will be sure to draw a few tsk-tsks from the monocled section at Tribeca, the film is FLAWLESS.Bravo.