The perverse jealousy of Serge Gainsbourg, who created “Je t'aime moi non plus”

The end of chaos and jealousy

“Jane was fully in character, so her relationship with Joe in the film aroused Serge's jealousy... She was upset by Joe's body, and became jealous of his own creation.'' (Story by Hugues Kestel as Patvan*)

Serge Gainsbourg's perverted jealousy towards his creations gives rise to sadism, and at the same time, Jane Birkin's unknown abilities blossom. Jane Birkin's trance-inducing performance in this film would later lead to her insane acting in the masterpiece `` La Pilate '' (1984) in collaboration with Jacques Doillon. In this work, you can get a glimpse of the madness of sticking a knife into a wall in ``La Pilate.''

Johnny's ``I'm a man'' statement comes after he insults Klasky, who can't have sex with women. Or the scene where Patvan, delirious with jealousy, suffocates (Jane Birkin almost suffocated, but filming never stopped). As a filmmaker, Serge Gainsbourg sadistically drives Jane Birkin. The climax of this is the "scream" of this work.

"Je t'aime moi non plus" © 1976 STUDIOCANAL - HERMES SYNCHRON All rights reserved

Here is a continuation of the ``scream'' in `` The Glass Gravestone '' (1970), in which Jane Birkin co-starred with actor Serge Gainsbourg. In fact, Jane Birkin's almost violent screams reverberate throughout the film, so much so that it would be no exaggeration to call Je t'aime moi non prue a ``screaming movie.'' The sadism towards Jane Birkin is also the sadism that hurt Serge Gainsbourg himself.

This work is established as art, a last-minute passion that threatens to destroy mutual trust. It is said that Serge Gainsbourg, who worked on the set, was particular about adjusting the position of the Coke bottle by one centimeter. This episode shows the passion of this rare trickster who originally wanted to be a painter. ``Je t'aime moi non prue'' succeeds in leaving behind a peach-like world for posterity, where attributes such as nationality and gender are nullified with the utmost passion. Alternatively, we are leaving behind hope for future generations that there were adults who once dreamed of a world like this.

A few months before Serge Gainsbourg's death, his daughter Charlotte Gainsbourg, who saw the film for the first time, left the following Arrival on her father's answering machine:

"It was a magical movie."

*From " Gainsbourg or Love Without Exit " by Gilles Verlin/translated by Tatsuharu Nagataki and Kinuko Tottori (Magazine House).

Text: Daiji Miyashiro (maplecat-eve)

Movie criticism. Contributed commentary to Eureka's ``Wes Anderson Special'', Real Sound, Toshio Matsumoto special pamphlet, etc.

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"Je t'aime moi non plus 4K completely uncensored version"

© 1976 STUDIOCANAL - HERMES SYNCHRON All rights reserved