how to copy love
by Douglas Messerli
Abbas Kiarostami (screenwriter and
director) Copie Conforme (Certified Copy) / 2010
Perhaps coincidences are simply the mind perceiving links between things that otherwise might not be connected, but I couldn’t help being surprised that after watching Dreyer’s film Gertrud sent to me by Netflix on Saturday, how much of significantly related to my Sunday viewing of another Neflix film, Copie Conforme (Certified Copy) by Abbas Kiarostami.
Starring the English opera Baritone, William Shimell (with whom Kiarostami worked in directing Don Juan) and the director’s long-time friend, Juliette Binoche Certified Copy concerns an arts and culture writer (Shimell) who, after giving a lecture about his new book, Copie Conforme, meets up with an antiquities dealer who takes him on a drive through the Tuscan landscape, visiting a small village where many working-class Italians come to get married, in part because of a small, sacred tree.
Shimell’s character, James Miller, argues in his new book that there is
no really important difference between an original object of art or a copy, and
that neither intrinsically has more value, the copy sometimes being more
beloved that even the original which our culture has taught us to see as being
better and of more value. The difference between a household object, such as a
soup can and its reproduction by an artist such as Warhol is merely the place
or context in which it is presented. Even da Vinci’s Mona Lisa is
not really an original since it is a portrait of Lisa Gherardini, the original
in this example.
In fact, he appears to be considerably
closed off from the world around him, almost dismissive of the dewy-eyed and
brides and grooms around them. While She speaks English, French, and Italian
fluently, he speaks almost entirely in English, although we later discover that
he does know French.
The further they go in their travels (he must catch a plane by 9:00 that
evening), the two, at first appearing to be footloose strangers, gradually
begin to bicker like a married couple. At a small
Many critics have argued for
Kiarostami’s borrowing, in this film, from several of the early 1960s films,
Rossellini’s Voyage to Italy, in particular, but also L’Avventura and
later works such as Before Sunrise and Before Sunset.
I believe they’re right. But, after the scene I just described above, and after
having just seen Gertrud I’d posit that Dreyer’s film is far
more central to Certified Copy since the idea that love is
more important than anything else is the central theme of both works.
More importantly, from this moment on things quickly begin to shift. When
Miller returns to the table he tells of a moving story of how, when staying in
Florence he daily observed a woman with a son, she always walking far ahead of
the boy, but stopping every so often to look back to discover his whereabouts. His
book first suggested itself to him when the pair one day stood before the copy
of Michelangelo’s David in the Palazzo Vecchio (the original had long before
been moved into the Galleria dell'Accademia to protect it). In the middle of
his tale, he and we simultaneously both realize that the woman and son he is
talking about is none other than his table partner; and we have seen her play
out the same scene in the streets of Arezzo that very morning. A tear falls
from her right eye, as she responds, “I was not well in those days.”
Even more importantly, when she tells him of the waitress’s
mistake about their relationship they even more emphatically play out their
relationship as a true couple, arguing about events in the past and numerous
other issues. Suddenly the audience can only perceive that they have been a
true married couple all along, now living separate lives with long periods
between their encounters.
Most commentators have wondered which of the two realities proffered is
the truth (the original) or play-acting (the copy). Of course we can never be
sure, and that’s precisely Kiarostami’s point. But I’d bet on the film’s ending
being the original as opposed to the copy of their first meetings played out in
the earliest scenes. First of all, her 10-year-old son (Adrian Moore), who
seems precociously aware of her excitement about seeing Miller almost gives
away part of the later plot, by saying he’d like to see the man also,
suggesting that he knows Miller is his father.
Moreover, there is the very fact that these “strangers” immediately seem
comfortable with one another, and not at all wary of taking a Sunday drive into
the countryside in her car.
In
this case, the original (the truth about their already being a couple) is
preferable to the copy (a play-acted version of starting over again) for when
She takes him back to their honeymoon hotel in the same town they have been visiting.
Miller finally does give into at least one more moment of pleasure with her,
staying on instead of leaving as he originally intended. If the two do have a
sexual rendezvous, he perhaps may not even make his plane.
Of
course, Kiarostami has traveled this territory before, particularly in his 1990
film, Close Up where a character pretends to be the director
himself, temporarily tricking an entire family. And he has played with this
idea as well in his 1997 masterwork, Taste of Cherry, where the
suicidal hero is revealed, at film’s end, as performing in the movie which has
just told his tale.
His
2010 film, within this context, does not seem so very “labyrinthine” as many
critics dubbed it, as it is a moving comedy-drama about how a couple finds a
way back to each other, even if only for a few hours. If, in the future, the
central character may find herself, like Gertrud, all alone, living almost as a
hermit, she has at least spoken out for the original, the real love, which they
once felt for one another.
Los Angeles, November 6,
2018
Reprinted from World Cinema
Review (November 2018).
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