I like the storyline of this show,it attract me so much

The Worst Film Ever

Thanks for the memories!

It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

Zorg (Jean-Hugues Anglade) is a handyman working in France, maintaining and looking after the bungalows. He lives a quiet and peaceful life, working diligently and writing in his spare time. One day, Betty walks into his life, a young woman who is as beautiful as she is wild and unpredictable.Although the film is widely praised, it was "hated" by Roger Ebert, who sees it as nothing more than a film about the lead actress being naked a good deal of the time. He says that is the plot, and anyone who gets more out of it is missing the point. Many people apparently miss the point, as the film received both a BAFTA and Oscar nomination for Best Foreign Language Film in 1986, as well as winning a César Award for Best Poster.Ebert exaggerates slightly, but I cannot completely disagree with him. For one thing, I am not a fan of explicit sex is movies as it never serves a purpose. But also, it just is not that interesting of a film. If people were not attracted to the scandalous nature of the film, it would probably not be a cult film today.

Betty is a force of nature who enters the dull but seemingly content life of handyman, Zorg. It transpires that he has written a manuscript, but I got the impression that he had dropped out, not to write, but to escape from the pressures of life/writing, to lead a simpler, less complicated life. And the irony is, once Betty enters, he becomes engaged in life and love due to her erratic, restless/damaged personality,which sees them travel across France.I thought the film was also about escape & frustration. We find Zorg painting shacks as a form of escape (struggling writer). So many of the (minor) characters, Zorg encounters are seeking escape from mundane reality. At the beginning of the film, an elderly guest at the shack shows off to Zorg about his 'girls'; they turn out to be photos from an adult magazine; the young security guard later in the film, reading a porn magazine and becoming transfixed by 'Josephine'; Bob's sexually frustrated wife; even one of the funniest, surreal moments in the film is about escape, when Zorg has to deal with a policeman, following Betty's assault on a publisher, and the two men connect precisely because the policeman is a failed writer who harbours a grudge against publishers.Zorg, himself, escapes into a fictional world as a writer (& perhaps ultimately this is what preserves his sanity in an absurd world); Betty's tragedy is that she cannot cope with real life and expects it to conform to her wishes& she lashes out, against the world, until this anger is turned upon herself. Zorg comes across as more resigned to the bitter realities of life, that 'life is not tailor-made to suit him' (to paraphrase one exchange with Betty), almost detached from life at the beginning of the film until Betty forces him to engage with love and life. Betty is a romantic, an idealist who finds the petty realities of life a trial; she wants, to paraphrase Zorg,' a world that doesn't exist'.It was interesting to read one review that suggested events in the film were in Zorg's head. I won't deny this reading, but I thought the ending was about how Betty, her voice, lived on (resonated) within Zorg. At the asylum, he talks to the sedated Betty about how he still hears her voice but then only finds silence.This may sound bizarre, but films work in clever ways. I found the parrot at the beginning, in Zorg's shack, fascinating. It looks alive at first, but then you realise it is stuffed and fake. And I feel this is what happens to Betty, her tragedy, as she becomes out of control and the doctors fill her full of drugs.Why does Betty gouge out an eye in particular? Perhaps again, it is to do with how she views the world so differently from others, the conventional, and reflected in the blue floor she gets Zorg to paint in their apartment.A film about a doomed love affair, doomed by the intrusion of outside forces and Betty's instability. You feel for the two lovers. Left alone in their idylls, the shacks at the resort at the beginning, the rural retreat above the piano shop, you feel that they might have stood a chance, but destructive forces lie both outside and within so that Zorg and Betty's love affair cannot survive.An unusual film, visually original, I also saw it as a film of contrasts: city/country, light & darkness, (light & shade), heights of joy and depths of terrible sadness & despair, how these can occur almost as if with a trick of the switch (Eddy & his friends dancing happily drunk & the phone call about his mother). And yet Zorg becomes alive again in his relationship with Betty. Perhaps their story is the one he comes to write at the end of the film in his new novel.

Nothing excites a film critic more than the opportunity to kick a whiz-kid director down on his luck, and it's been open season on Jean-Jacques Beineix ever since his justifiably ill-fated second feature 'Moon in the Gutter'. But he can be assured of having a captive audience for at least the opening moments of his new movie, in which the director indulges his Gallic penchant for erotic overkill with several minutes of unembellished (and absurdly gratuitous) sexual intercourse. The scene gives a misleading first impression of the film as a libidinous romp, and may leave viewers unprepared for the tragic story of a sublimely untalented writer (named, oddly, Zorg) and his tempestuous lover Betty: an untamed, impulsive force of nature prone to violent fits of temper. The film itself is often equally irrational, meandering across some of the more picturesque corners of rural France before Betty's next tantrum turns (inevitably) fatal. But the extravagant self-indulgence that ruined Beineix's previous feature is tempered here by an unexpected measure of genuine wit and self-deprecating pretension, with the additional bonus of handsome photography and a catchy music score by the ubiquitous Gabriel Yared. The alliterative title is also a distinct improvement over the original French '37.2 degrees le matin'.

I have purchased 37°2 le matin or Betty Blue on DVD about 3 or 4 months ago, mostly because I read a lot about it and despite the 61 comments on this site (62 with mine) and the 577 votes by users from United States (surprise since it was nominated for an Oscar), this title is very well known and not that difficult to find in my country. Anyway, just yesterday I -finally- saw it so the 185 minutes cut of Betty Blue is a near perfect film, certainly not for everyone and I believe you know why. The erotic scenes are there yet sometimes we see unnecessary nudes and some scenes with Jean-Hugues Anglade will make you say, come on man put some clothes on! But we have Béatrice Dalle; both made a great work. Anyway, we have 3 sorts of chapters in the film that we can recognize every time the protagonists, Zorg (Jean-Hugues Anglade) and Betty (Béatrice Dalle), change their place. In the first one we can see how is the life of Zorg, he works for the owner of his and some other houses and he seems to be satisfied with that or at least he understand how are the things. We don't really know how the beautiful Betty entered in his life but we do know how is their relation and how unpredictable things can be and how for an unthinkable factor things can change. I don't think that Zorg would ever imagine that his personal writings, which he used to make just to feel that he was alive, could make him really important for Betty. Since this "chapter" we realize how Betty could react at some difficult circumstances but, of course, as the story grow this reactions gets more and more relevant. Zorg says in the film something like the world is very small for Betty and when she has one thing in mind anything else is careless, so in the third "chapter" they seems to be established, courtesy of their friend Eddy (Gérard Darmon), and ready to be parents but their hope, specially her, will be over soon. As for Betty those things were the only ones in her mind, she was the only one in Zorg's mind, she was his world and she gave sense to his life …This film was based on the 1985 novel 37°2 le matin by Philippe Djian and I know that he really doesn't liked this film. "It's difficult because in the movie you have two characters - in the book I was not sure that I was speaking of two characters. Somewhere in my mind there was only one character who was part male and part female - it wasn't so brutal. If you are a filmmaker, you have to be very light, you have to be delicate. If there is a scene of love in the movie you are not obliged to use music. In this movie and in most movies it's like they're made for children. For example, in Betty Blue I said at the beginning of the book the man has a yellow car and that's all I said. But in the movie from beginning to end you have the yellow car and the yellow car and the yellow car and you have the sunset, and you have the music - so it's too much, it's like pastries - they can be too rich! Each kind of pastry can be good on its own: cream, chocolate, and so on... but if you put them all together, it's horrible!" It may be really interesting to read the novel and if I have the chance to get it, I will not miss it. Meanwhile and anyway, the film is great but it was a fact that I took to long to finally watch it because I felt that it may be a quite difficult viewing but I didn't felt the three hours with this engaging love history that contains explicit, odd, funny, dramatic, love, tragic, etc parts. Each "chapter" is terrific and also quite different from the rest since each takes place in different points of Zorg and Betty's relation yet not in a very long period of their lives. So I, definitely, recommend you this film that definitely is a long way but definitely a great way!