This movie has an awful reputation in France because it could be involved in Montand death by stroke. Thus it's really awkward to watch him die in the movie, in a hospital bed by a same stroke. Anyway I picked it for Géraldine who was an excellent choice as she plays again a nurse: as she is always focused and caring, this kind of part suits her nicely. At the end, it's a movie that is one of its kind: you can feel that Beinex has a real talent with the camera and light and can also write a story about generations and also about our country France.
8 Reviews
A touching road-movie towards love, dreams and the Pyrrenees
Solan16 June 1999
A boy, a youth and a seemingly crazy old man are on their way to the Pyrrenees. What are they really searching for? Life & Fulfillment, I guess. But Beineix pulls it off without getting pompous. This movie is mixed, both gentle and harsh at the same time. It's a lot more quiet than Beineix's "Betty Blue", without the same desperation - it's more about pent-up feelings and longing.
All the main characters are played well, especially Sall is incredibly good as the kid. That ending in the sunrise at the Pyrrenees is moving. No guarantee that Betty Blue-fans will like this - but it's really worth checking out!
All the main characters are played well, especially Sall is incredibly good as the kid. That ending in the sunrise at the Pyrrenees is moving. No guarantee that Betty Blue-fans will like this - but it's really worth checking out!
White Elephant In The Room
writers_reign17 October 2012
Warning: Spoilers
Let's get one thing clear: Beinex is not my idea of a film maker. Beinex is my idea of a t**t. Duvivier, Carne, Feyder, are my idea of film makers and if you think I'm comparing old with new how about Nicole Garcia, Toni Marshall, Alain Corneau, Danielle Thompson, Jean Becker or, to put it another way, REAL film makers and not some Academic/Pseuds' wet dream. On the other hand Yves Montand is not only IN the film he IS the film and for that reason, added to which it was the LAST film he made, it must be seen. The least said about the plot the better. Suffice it to say two young people, the obligatory dysfunctional anti-social angry youth and his token Black much younger companion, boost a car in order to deliver a consignment of gnomes to Grenoble. Mr. Sullen decides en route to light out for Toulouse instead, in pursuit of a girl he met briefly. When the stolen car runs out of gas they steal a second only to find after several miles that Yves Montand, tramp/mystic, is in the back seat. Forming a twee some threesome they convert it into a road movie manqué. Montand, as always, is outstanding, as for the rest, forget it.
Beautiful
nicoteenager29 October 2003
I saw this film years ago when it was first released and fell madly in love with it. Now over 10 years later I just have to say what a beautiful film it is... still.
Watch this film, life really is too short not to.
Why this movie doesn't exist on DVD stuns me, my 9 year old VHS copy is slowly dying out. Yves Montand could not have left a better swan song.
Just beautiful.
Watch this film, life really is too short not to.
Why this movie doesn't exist on DVD stuns me, my 9 year old VHS copy is slowly dying out. Yves Montand could not have left a better swan song.
Just beautiful.
Beineix is generally in fine form here
mednic11 November 2001
This beautiful and stimulating movie continues Beineix's orientation towars socially marginal male anti-establishmentarian characters on a romantic quest. The visual lyricism and meditative nature of this film are wonderful, although the plot seems less coherent than in Diva. If you liked that latter film, this is definitely worth seeking out and watching for similar elements, a whiff of contemporary France's multiculturalism and inequality and a deeper sense of longing for romantic or spiritual fulfillment. Beineix can be faulted for keeping the female characters in this film on the level of pure archetype, but this male pseudo-Butch-and-Sundance road movie has humor, keen visuals and variety.
Worthy Of A New Theatrical Release!
hwycine15 January 2007
I saw this at the 1991 Seattle film fest and never heard of it being in cinemas in the US. I should think it would do very well even now. Imagine getting the whole graffiti artist, skater crowd to come to see a French film! They would. Even the title would attract a lot of the hip-hop culture, IP5, sounds pretty contemporary to me! Build it and they will indeed come.
Wonderful film: the production design, dialog, the cinematography & casting are all very, very good. Perhaps this film toured the American college film program circuit in 16mm, not sure. This film really needs to be on DVD so that more people can see it. I imagine the politics & money thing are the reasons it didn't make the natural leap from VHS to DVD.
Wonderful film: the production design, dialog, the cinematography & casting are all very, very good. Perhaps this film toured the American college film program circuit in 16mm, not sure. This film really needs to be on DVD so that more people can see it. I imagine the politics & money thing are the reasons it didn't make the natural leap from VHS to DVD.
the last movie of Yes Montand, the last but one feature movie of Jean-Jacques Beineix
dromasca28 January 2022
A discovery. The disappearance of Jean-Jacques Beineix gave us the opportunity to review some of the films of this French director who leaves behind an undeservedly short filmography. His most famous films were made in the 1980's - 'Diva', 'Betty Blue'. 'IP5: L'ile aux pachydermes' (English title 'IP5: The Island of Pachyderms'), released on screens in 1992, was received with critical disdain. The audiences were more generous, but another event marked the fate of the film, and with it, perhaps, Beineix's career. Yves Montand, the huge actor (and singer, but in this film he does not sing) died of a heart attack a few days after the end of filming, in November 1991. Spectators, perhaps also influenced by press articles, linked the death of this beloved actor the intense stress of the filming. In the movie, Leon Marcel, the old tramp played by Yves Montand, has a similar death. Life and film met once again, in a tragic coincidence.
'IP5' proposes two love stories in 'road movie' packaging. Tony (Olivier Martinez) is a young man from the suburbs who deals with street art and petty theft together with his friend Jockey, a pre-teen boy of African descent. When the boy's father has a medical incident, the nurse who comes to help him is Gloria (Géraldine Pailhas), a beautiful and serious girl with whom Tony falls in love on the spot. She does not seem interested in the advances of the seemingly good-for-nothing young man and she leaves for Toulouse a few days after. The two boys set off in her search, on a journey through the roads and through the forests of France, the stages of the journey being marked by stolen cars. On the way, they meet Leon Marcel (Yves Montand), a mysterious character, half tramp, half magician, and who is himself in search of a woman he broke up with 40 years ago. The three men of different ages will get to know each other, help each other and learn from each other, and the two love stories will end, differently, but in the same geographical place.
To me, this plot seemed well-structured and nicely brought to screen. The film is also beautiful from a visual point of view (cinematography: Jean-François Robin). The comparison with Leos Carax's films (with whom Beineix and Luc Besson are associated as forming the representative trio of the 'cinema du look' current) is obvious. The friendship between the three heroes makes the connection between the traditional French culture and the pop culture of the '90s with rap and street art. For Yves Montand, looking back, the film seems like an artistic testament, but this is just a coincidence of destiny - it seemed more symbolic to me that his meeting with the young actors with whom he collaborates perfectly. What can I say about Jean-Jacques Beineix? His ambitions seemed great. Even the title of the film ('IP5', ie his 5th film) indicates that he was preparing for a long-breath cycle. He directed only one feature film after that, in 2001, and none in the last two decades of his life. Did the tragedy ofYves Montand's death at the end of the filming for 'IP5' mark him so strongly? Or was it about refusing artistic compromises in his relations with producers? We will probably never know, but this film is a testimony to an undeniable talent which, unfortunately, went largely wasted.
'IP5' proposes two love stories in 'road movie' packaging. Tony (Olivier Martinez) is a young man from the suburbs who deals with street art and petty theft together with his friend Jockey, a pre-teen boy of African descent. When the boy's father has a medical incident, the nurse who comes to help him is Gloria (Géraldine Pailhas), a beautiful and serious girl with whom Tony falls in love on the spot. She does not seem interested in the advances of the seemingly good-for-nothing young man and she leaves for Toulouse a few days after. The two boys set off in her search, on a journey through the roads and through the forests of France, the stages of the journey being marked by stolen cars. On the way, they meet Leon Marcel (Yves Montand), a mysterious character, half tramp, half magician, and who is himself in search of a woman he broke up with 40 years ago. The three men of different ages will get to know each other, help each other and learn from each other, and the two love stories will end, differently, but in the same geographical place.
To me, this plot seemed well-structured and nicely brought to screen. The film is also beautiful from a visual point of view (cinematography: Jean-François Robin). The comparison with Leos Carax's films (with whom Beineix and Luc Besson are associated as forming the representative trio of the 'cinema du look' current) is obvious. The friendship between the three heroes makes the connection between the traditional French culture and the pop culture of the '90s with rap and street art. For Yves Montand, looking back, the film seems like an artistic testament, but this is just a coincidence of destiny - it seemed more symbolic to me that his meeting with the young actors with whom he collaborates perfectly. What can I say about Jean-Jacques Beineix? His ambitions seemed great. Even the title of the film ('IP5', ie his 5th film) indicates that he was preparing for a long-breath cycle. He directed only one feature film after that, in 2001, and none in the last two decades of his life. Did the tragedy ofYves Montand's death at the end of the filming for 'IP5' mark him so strongly? Or was it about refusing artistic compromises in his relations with producers? We will probably never know, but this film is a testimony to an undeniable talent which, unfortunately, went largely wasted.
Ultimately seems arbitrary and pointless...
philosopherjack27 January 2023
Warning: Spoilers
In its strenuous bringing-together of disparate elements, Jean-Jacques Beineix's IP5 may paradoxically seem to demonstrate a creative fountain too-rapidly running dry, forcing the director into attempting to find magic through near-random alchemy. In his last role (and therefore inherently quite moving, even if his character makes only limited sense), Yves Montand plays Leon Marcel, an escapee from the institution into which his relatives confined him, on a journey to close a romantic narrative left incomplete decades earlier. Olivier Martinez plays Tony, a virtuoso graffiti artist on the trail of Gloria, the woman he loves (Geraldine Pailhas), knowing only that she's somewhere in Toulouse, accompanied by his much younger sidekick known as Jockey (Sekkou Sall), among other things a supposed mystically-gifted predictor of horse racing results and an ace car thief; it's in the course of practicing the latter that they find Marcel asleep in a back seat and their trajectories eventually merge. Beineix's sense of composition is evident throughout, and the clashing of aged gravity and contemporarily rooted multi-culturalism makes for some easily entertaining, if repetitive, dynamics. But the film ultimately seems arbitrary and pointless, weighed down by that tedious quasi-mysticism (Marcel appears to possess the divination skills that Jockey lasts, as well as being able to walk on water in one scene, and suchlike). For all the film's professed belief in fated romance, it has little interest in its female characters: based on what's shown, Gloria's disinterest in Tony is visceral and well-founded, yet melts away based on no more than her succumbing to his willpower (or something like that). In such respects the film sporadically evokes Beineix's earlier Moon in the Gutter, another rather heavy-going narrative built around another hard-to-buy romance, in that case though benefiting more fully from the director's flair for imagery and mild subversion of expectations.
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