The whole movie, on close inspection, is actually about Betty’s world revolving around Zorg, and increasingly falling apart as she tries to ‘do her best’ by her man.
Her lack of personal character drive is evident throughout.
Similarly, the mental illness traits are neither fully explained (there’s some hint at childhood abuse, and the obvious hint in the French title – is still, undoubtedly, a work of art.
We just follow Betty (the gorgeous Beatrice Dalle, known for little else) and Zorg (a young Jean-Hughes Anglade - ) around, as elements in their respective personalities are developed, and as themes and characteristics start to emerge.
The film looks at relationships, love, obsession, depression, and madness, taking us on something of a disjointed downward spiral as the initially star-crossed lovers – without a care in the world – are forced to face an increasing number of unwanted responsibilities, and often fold under the burden of them.
As such is a fascinating exploration of borderline mental illness, and of the pressures of living on the fringe of society, where you’re forced to conform in the sense of bills to pay and jobs to keep, but where your true talents lie in artistry and other forms of self-expression. Zorg himself is something of a writer, or at least Betty thinks so, and the story shows how she becomes increasingly obsessed with Zorg’s unpublished manuscript, initially intent on seeing it all typed up so that it can be submitted to publishers, and then getting progressively angry with the successive responses of said publishers.
She can see the talent in him, even if he can't see it in himself, and it’s one of the core components that further the depth of their relationship – her increasing respect for him; his, in turn, self-worth very gradually increasing due to her pride in him – translating it from just physical love to all-round relationship love.
Brimming with tragedy, there’s something to be said for not just the ostensible feminist angle depicted in this drama, but also the analysis of underappreciated undiscovered artists – certainly a quintessentially European trait in all realms of ‘art’ barring acting.
– I have to say that it is still quite clear that the movie is written and directed by a man, and designed for male appetites.Perhaps this is classic French stylisation – and I’m certainly not talking about the sex and nudity here, that’s pretty-much equally divided between Betty and Zorg in any event – but it does become apparent that the feminism at work is paper-thin.Betty herself is a male dream, nothing more than male wish fulfilment: a faithful muse, a devoted partner, a sexy, highly sexualised girlfriend – her obsession in her ‘man’ and his work is evident throughout. Özgün adı Fransızca 37°2 le matin olup "Sabah 37,2 °C" anlamına gelir.Jean-Jacques Beineix'in Philippe Djian'ın aynı isimli romanından sinemaya uyarladığı filmin başrolünü Béatrice Dalle ve Jean-Hugues Anglade paylaşır.cite web | title = Betty Blue - 37°2 Le Matin Review - UK Online | url = date = 2012-07-28 | archiveurl = VAE | archivedate = 2012-07-28 in France), which fit all of the requirements a late teenage boy needed from arty foreign cinema – irregular, somewhat whimsical plotting, a 3+ hour runtime, and (as you would only expect from the French) persistent full-frontal nudity and gratuitous sex.