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I Can No Longer Hear The Guitar

I Can No Longer Hear The Guitar

A Feature film by Philippe Garrel

Produced by Les Films de l'Atalante

Release in France : 11/09/1991

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Actors (10)

Production and distribution (2)

Executive Producer :

Les Films de l'Atalante

French distribution :

Les Films de l'Atalante

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Box office: Timeline

International releases (2)

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Gerard claims that he will love his new girlfriend Marianne to death and beyond. However, over the years they drift apart and Gerard marries someone else. One day he hears that Marianne has died and the news profoundly shocks him.



Philippe Garrel is a French director of cult status whose work has not been much seen in the US. Interest among film buffs certainly must have grown with the showing of Garrel's wonderfully atmospheric evocation of 1968-69 'Regular Lovers'/'Les amants réguliers' (2005) at the New York Film Festival, with a brief New York theatrical showing two years later. After re-watching Regular Lovers last year I wrote that it is "the kind of film that burns itself into your memory and keeps coming back."

And this is a French cinematic dynasty. Philippe's brother Thierry is a producer; his father Maurice is a veteran actor with well over a hundred credits (recent notable ones: 'The Red and the Black,' Dercourt's 'My Children Are Different,' 'Kings and Queen,' and 'Regular Lovers'); and his son Louis, the young poet and central character of Regular Lovers, is the hottest young French screen actor in more senses than one. Americans saw Louis with Eva Green and Michael Pitt in Bertolucci's 2003 The Dreamers. But what are Philippe Garrel's important films? I don't know; the promoters of the Film Comment Selects series at Lincoln Center say J'entends plus la guitare ("I No Longer Hear the Guitar") is "arguably Philippe Garrel's masterpiece."

Masterpiece or not, this film (which won the Silver Lion in Venice) is a complete contrast to the over-three-hours-long, epic-feeling black and white 'Regular Lovers'--and yet memorable in its own way. It's quieter and more intimate and more obviously autobiographical--almost like a loose compendium of fragmentary diary entries from a man who had many lovers and one good friend, a painter (Martin, Yann Collette, a veteran actor who happens to have a sunken and blind left eye). The man is Gerard (Benoît Régent). One of the women is Aline (Brigitte Sy, mother of Louis Garrel). But most important in Gerard/Philippe's life is Marianne (Johanna ter Steege), a luminous exotic Nordic lady drawn to drugs and dirty longhairs (unseen in the film but described with distaste by Gerard) who say "Yeah man!" and "cool."

The film begins with Marianne and Gerard in Positano, on the Italian Riviera, with Martin and his friend Lola (Mireille Perrier). They go back to Paris where Gerard spends every evening smoking hashish at Martin's place talking about Marianne. Gerard's fascination with her is obvious, but there are no love scenes. One day Marianne meets another man and wanders off.

Marianne is, as is well-known, the stand-in for Nico (stage name of Christa Päffgen) the singer of the Velvet Underground and Warhol "superstar" with whom Philippe Garrel had an ongoing relationship for over a decade. In the person of ter Steege, Nico/Marianne's appeal is obvious. Nico herself was in seven of Garrel's films in the Seventies. This one was made three years after her death--and Marianne like Nico is described as dying while riding a bicycle.Gerard meets Linda (Adélaïde Blasquez) Aline (Brigitte Sy), and then Adrienne (Anouk Grinberg), but Marianne remains in Gerard's world, the love of his life.

Scenes of 'J'entends plus la guitare' over twenty years later still evoke the Sixties and Seventies in content and style. They are so simply staged they're arresting. A woman comes to the door and says she's a friend of someone else. Apparently she moves in, just like that. The next thing you know Gerard is in the bath and this new woman brings him a plate of food which he forks down hungrily. He gets up, hastily towels off, puts on a shirt while still wet. The woman spreads two sheets on the bed. They get under them, clothed, and propped up on their elbows lie looking into each other's eyes. This is how the beginning of a new relationship is described.

When Gerard's girlfriend has a baby, they eat at a table with a whole family, but nobody's identified. Closeup of a young teenage boy looking on with eager happiness as the food is dished out. Most of the scenes are one-on-one conversations (unlike much of 'Regular Lovers,' which is more collective and symphonic). This is like an autobiographical meditation, verging, the FCS blurb suggests, on "psychodrama." Garrel is an heir to the Nouvelle Vague who captures life in the raw with lovely cinematography and interesting and attractive people but not very sophisticated or self-conscious technique. His films (so far as I've seen them so far) can be irritating and slow but are curiously endearing. Think Warhol, but without the titillation and voyeurism, and with a European straight male sensibility, particularly here. Even without the presence of Louis (who was around eight when this was made) this is still a fresh, youthful kind of film-making. It may seem self-indulgent, but it doesn't age.

Source : IMDb

Full credits (11)

Adapter/dialogue writer :

Jean-Francois Goyet

Screenwriters :

Philippe Garrel, Marc Cholodenko

Sound Recordist :

René Levert

Production managers :

Charles Tible, Éric Zaouali

Editors :

Sophie Coussein, Yann Dedet

Sound Mixer :

Alain Garnier

Producers :

Bernard Palacios, Gérard Vaugeois

Director of photography :

Caroline Champetier

Sound Assistant :

Martin Boissau

Press Attaché (film) :

Marie-Christine Damiens

Music Composer :

Faton Cahen

Technical details

Feature film

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Themes :

Relationships, Drugs

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Original French-language productions :


Nationality :

100% French (France)

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French release :


Runtime :

1 h 48 min

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Posters (1)



Festival Selections (2)

Rotterdam International Film Festival - 2006

Rotterdam International Film Festival (Netherlands, 2006)


Main Program Section Feature Films

Venice International Film Festival  - 1991

Venice International Film Festival (Italy, 1991)


Official Competition


Venice International Film Festival  - 1991

Venice International Film Festival (Italy, 1991)


Silver Lion for Best Director : Philippe Garrel