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Archive for the ‘French Cinema’ Category

Blood Ties (France-US 2013)

Posted by Roy Stafford on 21 August 2014

Clive Owen and Billy Crudup as ? and ?

Clive Owen and Billy Crudup as Chris and Frank

There is no reason why Blood Ties shouldn’t make perfect sense. The crime film or polar is a popular form in France and one of its principal features is an interest in American culture. many polars have been based on hardboiled American pulp fiction, published in France alongside the French variety in ‘Serie Noire’ novels. French films – and indeed French crime fiction novels – have been re-imagined for the US market by Hollywood filmmakers and there is a history of French directors going to North America to make films in both French and English. The most recent high profile examples include the first of the Mesrine films about the French gangster (set mostly in Canada) and Bertrand Tavernier’s problematic production of the James Burke adaptation, In the Electric Mist (US 2009). (Blood Ties reminds me of Mesrine.) Why then does Blood Ties feel so odd? It might be because I’d read one negative review by Leslie Felperin in the Guardian and I was unconsciously looking for faults. But I kicked myself after the screening when I realised that this project of the actor-director Guillaume Canet was actually a re-make of the French film Les liens du sang (2008) which I’d not only seen but also written about. Doh!

The original film, based on a novel, Deux freres, un flic, un truand by Bruno and Michel Papet was based in Lyons in the early 1970s. That film was directed by Jacques Maillot and starred François Cluzet and Canet as the two brothers of the title, one a cop (Canet) and one a criminal (Cluzet). Canet and Cluzet had previously worked together on the very successful Tell No One (France 2006) based on a Harlan Coben novel. Canet decided on the remake to be made in English with the same story but set in New York in 1974. However this would still be a mainly French production. The main American creative input came from the writer-director James Gray, a friend of Canet, who was hired to co-write the script. Canet is clearly interested in American culture – and American popular music – so an English language film in America is not surprising. But why go for a period shoot with the resultant expense? IMDB suggests a budget of $25.5 million which is nearly up to Hollywood levels for this type of production. I suspect it was only viable because of the interest from various French TV channels. I can only assume that Canet wanted to get the feel of those New York policiers of the 1970s such as Serpico (1973). Certainly he searches for locations carefully. One film I was reminded of was Mike Newell’s Donnie Brasco, not a 1970s movie (it was made in 1997) but an evocation of the era.

The main problem in the film is the casting of Clive Owen and Billy Crudup as the criminal and the cop. They have no fraternal resemblance at all (nor to their father played by James Caan). Crudup looks like a perfect 1970s stereotype with a trim moustache and shaggy hair, whereas Owen looks like a leftover rocker from Coventry complete with leather jacket and tattoos. But the real problem is when they open their mouths. I’m no expert on New York accents but several critics have fingered Crudup for missing the mark. I don’t need any help to know that Clive Owen slides about all over the place. Now this isn’t to suggest that either actor puts in a bad performance. In fact they are both very good and after the first 30 minutes or so I began to enjoy the film quite a lot. My comment is really about Canet and his producers not having the nous to consider casting and script together. I suspect that Canet just doesn’t have the ‘ear’ for the nuances of English. That may be unfair, but something is amiss. Marion Cotillard (Canet’s partner) is cast as an Italian (I think that is right, but she might be Spanish – Monica seems the wrong name in any case) and her co-star from Rust and Bone, Matthias Schoenaerts plays the real bad guy in the narrative – with as far as I could hear, a very acceptable accent. (I should explain that ‘bad guy’ is a plot statement – the ‘good guys’ are actually horrific in terms of wiping out any opposition.) This is an excellent cast, with the further addition of Zoe Saldana, Mila Kunis, Noah Emmerich and a rather wasted Lili Taylor.

The idea of two brothers on different sides of the law is a familiar trope of crime films from the Hollywood studio era and from the polar. What is more unusual is the time devoted to the relationship between brothers and general family and police team background. The film has been criticised in North America because there is less ‘action’ and more melodrama and the action is supposedly not well choreographed or doesn’t use the correct CGI. It looked fine to me but my gripe would be that given potentially important roles for the four women in the cast, only Marion Cotillard really gets the chance to shine.

So, not perfect by any means but better than most Hollywood crime films of the same type and very much better than American Hustle in recreating the 1970s. It will probably disappear after the first week and come out on DVD pretty quickly, but if it comes to a screen near you it’s worth 125 minutes of your time.

The US trailer:

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Grand Central (France 2013)

Posted by Roy Stafford on 31 July 2014

The lovers: Gary (Tahir Rahim) and Karole (Léa Seydoux)

The lovers: Gary (Tahir Rahim) and Karole (Léa Seydoux)

First a confession. I found this a puzzling film. It was difficult to watch for various reasons but it made me think and there are many good things about it. I first wrote a blog post asking questions and making guesses about what it all might mean. Then I discovered the Press Notes and most of the answers. I turned out to be more or less correct on several points but there were some things I didn’t know and I certainly hadn’t picked out all the ideas behind the film. I think you need the notes to ‘read’ the film successfully and I’m not sure that is a good thing. Here are my revised notes informed by the Press Pack.

During the screening I thought of an important but little-known film by Jean Renoir, Toni (France 1934). Often quoted as the film that provided the spark for neo-realism, Toni tells the story of Italian migrant workers in South-Eastern France filmed mostly on location. Grand Central is set in the lower Rhone Valley where there are three nuclear plants. The central characters are two experienced workers at one of these plants (one of whom is called Toni) and they accept the responsibility to take into their team three young workers who are marginal characters with backgrounds in petty crime. The older and younger workers live together in a caravan park by the river. One of the trio of young men, ‘Garry Manda’ (Tahar Rahim) then becomes involved with Toni’s young fiancée Karole (Léa Seydoux) who also works in the plant.

The Renoir connection is strengthened by a sequence in which Gary and Karole have a midnight tryst which takes them in a boat down the river and Toni is cuckolded just like the innkeeper in Renoir’s Une partie de campagne (France 1936). I’m not suggesting that the film’s aesthetic approach matches Renoir, but there is certainly a shared sense of seeing the narrative from the point of view of the working-class characters. A second connection to Francophone cinema’s realist wing is the casting of Olivier Gourmet (from the Dardenne Brothers’ films) as Gilles, the senior figure on the works team. Toni is played by Denis Ménochet, best known from Tarantino’s Inglorious Basterds. (These observations are matched by comments from the film’s director in the Press Pack when she says that she consciously drew on the 1930s films with working-class characters. As well as the naming of Toni, ‘Manda’ is a reference to the lead male character in Jacques Becker’s 1952 film Casque d’or. Denis Ménochet reminds the director of Robert Mitchum.)

The visual and aural style of the film does not necessarily relate to realism. Co-writer and director Rebecca Zlotowski employs shallow focus shots with ‘pulled’ focus transitions and a distinctive mix of interiors, seemingly shot inside a real nuclear power station, contrasted with pastoral scenes by the river. The interiors were shot on digital cameras to capture the detail of the harshly illuminated scenes but the ‘warm’ exteriors were shot on 35mm film. The music is often menacing from an electronic score involving various collaborations – most of the music was composed specifically for the film. The menace in the plant comes from the threat of contamination while outside it hangs heavily in the mainly outdoor scenes of a kind of communal life around the caravans and on the river bank creating a nervous tension between the men and relatively few women. I’m kicking myself now for not making the connections with stories about other kinds of industrial life with ‘workers camps’ – fruit-pickers, road-builders, railway-builders etc. The director refers to the bar and the camp found in certain kinds of Hollywood Western. These kinds of narratives all work with the combination of dangerous occupations and strong emotions amongst the camps’ inhabitants.

An emphasis on bodies – the young men during the recruitment process for new workers in the plant. Gary (Tahar Rahim) is in the centre of the group.

An emphasis on bodies – the young men during the recruitment process for new workers in the plant. Gary (Tahar Rahim) is in the centre of the group.

We learn about the procedures required inside the nuclear plant but very little about the backgrounds to any of the characters themselves. What is clear is that Gilles and Toni see themselves as skilled workers with an informed perspective on the inequalities of the working conditions in the plant whereas the the younger men (and possibly younger women) have no political awareness and are reckless in terms of the dangers posed by contamination. In this divide is the basis of an interesting film about collective v. individualistic behaviour and a critique of labour relations in the nuclear industry. (The scenes inside the plant – and some outside – were shot in a mothballed plant in Austria.) However, Ms Zlotowski presents the ‘worker’s story’ through the prism of the sexual relationship between Gary and Karole, her two attractive leads. There is an emphasis across the film on the bodies of the workers. We see them dressing and undressing and being examined for evidence of possible contamination from radioactive materials. After possible contamination they are hosed down and scrubbed. Outside the plant it is Karole who is clearly ‘exposed’. She wears an extraordinary outfit – a tight, close fitting ‘body’ garment of soft white cotton emphasising her breasts with similarly tight and short cut-off denims. This provocative outfit is both revealing and constraining – and clearly far too much for Gary. Léa Seydoux appeared in Zlotowski’s previous film Belle Épine and she was one of the twin stars of the controversial film Blue is the Warmest Colour. Her ‘exposure’ raises some questions about the intentions of her female director.

Marilyn Monroe on the set of CLASH  BY NIGHT (photo from http://www.thisismarilyn.com)

Marilyn Monroe on the set of CLASH BY NIGHT (photo from http://www.thisismarilyn.com)

In the Press Pack Zlotowski suggests that she deliberately presented Seydoux as an erotic figure and that she had in mind something like the appearance of Marilyn Monroe in Fritz Lang’s Clash By Night (US 1952) in which Robert Ryan pursues Barbara Stanwyck in a small fishing community. Tahar Rahim is a star actor who can suggest both vulnerability and fortitude but here it is quite difficult to understand what might be going on in his head. We do learn something about his difficult family background and there is the suggestion that he might have found a new family with Gilles and Toni like surrogate father/uncle/mentor. But he appears determined to ‘prove himself’ – partly by taking great risks with his own health. This threatens to break up his working group and the relationships in the caravan park. The two young lovers are not a conventional heroic couple.

The mixture of ‘romance’ and the Western helps to explain the focus on the saloon bar (with its mechanical bull, reminiscent of John Travolta’s Urban Cowboy of 1980) as the focal point for the ‘showing off’ of the ‘strangers’ who come into town. Rebecca Zlotowski tells us that she also admires the Hollywood films featuring strong and tough working men and she quotes Nicholas Ray’s The Lusty Men (yet another 1952 film) with Robert Mitchum as one of the rodeo riders.

I can now see how the film narrative is supposed to work. I’m not sure it quite does for me and the politics of labour conditions isn’t explored enough for my taste, but this is a much more interesting film than most out there, so please give it a go. The original story comes from a novel titled La Centrale by Elisabeth Filhol and was then developed by Gaëlle Macé, Zlotowski’s screenwriter. So, three women as creative forces behind a film about men at work and the possibly disruptive eroticism of a woman in their midst.

The helpful UK trailer:

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Bright Days Ahead (Les beaux jours, France 2013)

Posted by Roy Stafford on 28 July 2014

The lovers seen through the blinds

The lovers seen through the blinds

The ironic English title of this film refers to the name of a social club with a range of classes and workshops for retirees. Caroline (Fanny Ardant) is given a trial membership by her daughters when she is more or less forced to retire from dentistry aged 60. (Her husband carries on working, even though he is a few years older.) The French title translates as ‘The Beautiful Days’ – perhaps ‘Golden Days’ in English? The novel by Fanny Chesnel has a title which translates as ‘The young woman with white/grey hair’. I mention these different titles since the nuanced differences between how we might interpret them gives a clue to the difficulty of pinning down the tone of the film. As baby-boomers age they inevitably create new categories/genres – as a ‘cohort’ with more expectations than previous generations and often more resources to deploy. There have been several films in the last few years that reflect this social change. UK cinema has produced The Best Exotic Marigold Hotel and Quartet both played mostly as comedies with underlying dramas. A Song for Marion then developed a twist on the May-December romance. All three UK films have a kind of populist ‘feelgood’ factor about them. Do we expect a French take on the issue to be less sentimental and more aspirational?

In the UK/US film culture older actresses have sometimes (quite reasonably) complained about the limited roles available to them. French female stars of a certain age have had other opportunities similar to that opened up for Fanny Ardant here. Charlotte Rampling springs to mind in more than one film. Our expectation is that these glamorous stars will remain so after 60 and Fanny Ardant certainly fits the bill. Her Caroline quickly falls for the attractive IT teacher running the ‘silver surfers’ workshop. Not quite 40, Julien offers what the BBFC warning (for a 15 film) describes as ‘strong sex’ and Caroline responds. What will happen when her husband finds out – which he surely will since Caroline is anything but discreet? How will the 30 plus daughters react?

The story is set in Dunkerque and the sometimes rainy and chilly Nord-Pas-de-Calais coastline offers an interesting backdrop to what in some ways is quite a conventional romance. The windy beaches, the rain, fairground rides and big skies all seem to offer some kind of referent to the state of the romance. They also help to provide scenarios for how the story might end. The director and co-writer (with the novelist) is Marion Vernoux, who has made similar films that I don’t think I’ve seen. She has an excellent cast with Patrick Chesnais as the husband and Laurent Lafitte as the lover. I’m not sure that the story alone would have held me without a central performance as strong as that from Ms Ardant who is completely convincing. A key moment for me was when Caroline referred to the expectation that the ‘right thing’ to do for a relatively affluent retired dentist was to offer her services to  voluntary groups helping those less fortunate. “But, I want to live” she tells Julien. I’m not sure why that line made such an impression, but possibly it just made her less ‘admirable’ and perhaps more human so that I felt for her as she drank too much and became vulnerable. That dilemma about wanting to ‘give back’ something to society but also wanting to enjoy freedom and independence is something many people over 60 experience (assuming that they have enough income to make the choice realistic).

Bright Days Ahead is only showing twice at Hebden Bridge Picture House and it got a smaller audience for the first screening than is usual for Hebden. That’s a shame. This is the kind of adult romance that UK filmmakers find difficult to make (though there are as good and arguably better narratives of a similar kind on UK television).

Export trailer (with English subs) from Unifrance:

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The Lookout (Le Guetteur, France 2012)

Posted by des1967 on 20 July 2014

Le-Guetteur-affiche-2

Le guetteur is a ‘polar‘ or crime film (see Roy’s post on the French polar). The benefit of this term is that it covers all varieties and sub-genres of crime films, eg, police procedural, gangster film, noir, heist film, etc). It has long been one of the staples of the French film industry and, as Roy’s piece argues, they do it pretty well. How does The Lookout stack up against this rich tradition? Well, fair to middling. The cast is mainly French but it is directed by an Italian, Michele Placido (I’m only familiar with his 2005 film, Romanzo Criminale (2005), which shows at least that he can handle action sequences pretty well).

Although a good translation of the word ‘guetteur‘, ‘lookout’ is a bit misleading, suggesting a fairly passive role. In fact, the lookout in question is a ruthless, highly skilled and enterprising criminal. The opening scene takes a typical bank heist gone wrong, and then gives it a fresh twist. Chief Inspector Mattei has received a tip-off that a major heist that is set to go down in Paris and assembles a large team of armed police. However, the police operation is disrupted when a sniper, who is perched some distance away on a rooftop, opens fire on the squad of arresting officers, killing and badly wounding several of them. Mattei’s connections lead him to discover that he is a former soldier and is high on Interpol’s wanted list but there is also a hint of undercover work for the French security services which might make it more difficult to track him down. But Mattei does discover his identity, Kaminski, the heist being shown in flashback as the film actually begins with Mattei interrogating a prisoner in custody. Kaminski refuses at first to answer Mattei’s questions, holding his gaze impassively, but eventually he asks to see his lawyer (with whom he has had a relationship in the past and who is willing to renege on her professional scruples to help her ex for whom she still holds a candle). The fact that Kaminski is played by the co-star and is in custody early in the first act (the film does seem to follow a three-act structure) suggests that he won’t be inside for long. In the initial heist, one of the robbers is badly wounded and (a nod to Michael Mann’s Heat (1995) and many other examples of the genre) must be attended by a defrocked doctor. Usually in the genre, this is a minor character but in The Lookout the doctor, Franck, at first a marginal character, turns out to be by far the nastiest criminal in the film and who takes the narrative in the direction of misogynistic horror.

One of film’s main strengths is the terrific set pieces like the one described above which lasts about seven minutes (and another one which ends the film) which rival Heat which it also resembles in terms of plot in the way that it is structured around a central conflict between the leading cop and the leading criminal. In the second act, Mattei is marginalised as the focus of the plot shifts to the criminals falling out with each other and here the screenplay (by Denis Brusseaux and Cédric Melon) seems to have an attention deficit disorder. It wants to do too much and the film becomes overwhelmed for a while. The number of characters – including the thieves, Kaminski’s lawyer, prisoners on detention, a (slightly stereotypical) gypsy, the hard-nosed wife of the wounded gangster – means that there are too many sub-plots (of short duration) and obfuscate the film’s central conflict between Mattei and Kaminski. There is a late-stage revelation (no spoilers) which functions to complicate the backstory between the two key conflicted protagonists which I thought worked quite well.

Casting is one of the film’s strengths, Mattei being played by Daniel Auteuil. He can sometimes seem as if he plays each role in the same register, that of angst-ridden gruffness (except when he plays parts requiring him to speak in his native Southern accent such as in Jean de Florette  Jean de Florette or The Well-Digger’s Daughter/Le Puisatier), or even in comedies like Le Placard. But it’s a register he does better than any of his contemporaries. Mathieu Kassovitz, whose career alternates between directing (La haine/Hatred (1995) is his best-known film) and acting, shows that he can hold his own as a downbeat action star.

The creepy Franck is played by Belgian actor Olivier Gourmet whom I have seen mainly as a regular of the Dardenne Brothers (such as Le Fils/The Son in 2002) but he is beginning to have prominent parts in French films and played the leading role in L’exercice de l’État/The Minister (2011). The director has a brief cameo as garage owner with a sideline in supplying crooked passports to the criminal underworld and Fanny Ardant, one of the leading French actors of the last 35 years (she played, for example, in Truffaut’s La femme d’à côté/The Woman Next Door in 1979 and Marion Vernoux’s Les beaux jours/Better Days Ahead this year – who says women over 60 don’t get sexy roles!), has an even briefer one with about 20 seconds of screen time. I wasn’t sure if it was her as the part is uncredited but imdb.com confirms her presence.

Fanny Ardant cameo

Fanny Ardant cameo

Here’s a trailer (no English subs):

 

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Bicycling with Molière (Alceste à bicyclette, France 2013)

Posted by Roy Stafford on 9 July 2014

Serge (Fabrice Luchini, left) and Gauthier (Lambert Wilson) rehearse

Serge (Fabrice Luchini, left) and Gauthier (Lambert Wilson) rehearse

I very much enjoyed Alceste à bicyclette, especially after watching the peloton of the Tour de France at the weekend and remembering the bicycle ride in Jules et Jim which is definitely referenced here. This is the kind of film the French make so well. I calculate that there are probably two or three French films like this each year whereas in the UK there might be two or three like this each decade. That is a difference in film culture. What do I mean by this? Simply that here is a film that mixes high culture and popular culture references and plays mainly, I suspect, to a middle-aged and middle-class audience.  There are two aspects of the film which will probably  reduce the enjoyment of large numbers of the potential anglophone audience – they were a problem for me – but I hope that non-French speakers will give it a go. Those problems are the cultural importance of Molière in France (the equivalent of Shakespeare in England?) and the difficulty of portraying the specificities of elegant 17th century French dialogue in English subtitles.

The film presents a narrative that involves a mise en abîme – the use of a play within a play. Gauthier Valance (Lambert Wilson) is a successful TV actor who decides to massage his ego by putting on a theatrical presentation of Molière’s Le misanthrope (the French actor’s equivalent of producing Hamlet and playing the lead role himself?). He has the idea of casting an old colleague Serge (Fabrice Luchini) who retired several years ago, but who was a celebrated actor in films as well as on stage. He knows that Serge has a particular passion for Molière. Serge now lives on the Île de Ré, the exclusive resort off the Atlantic coast near La Rochelle, in an old house he has inherited. Serge at first resists all Gauthier’s inducements but then decides it would be fun to ‘play’ Gauthier like a salmon, teasing him with a fly and then refusing him when he leaps. He suggests that they spend the next four days rehearsing scenes from the play and alternating the two main roles, Alceste, the lead and Philtrine. This is the mise en abîme as the two men exchange roles and try to top each other as they repeat lines of dialogue. They become aggressive and devious towards each other just like Molière’s characters and start to compete. Two women are included in the plot to help show up the male posturing. Zoé works in her aunt’s hotel and also as a porn actress, but she demonstrates that she can read Molière, just like she did at school. Francesca is the attractive Italian divorcée who plays the Jeanne Moreau role in the Jules et Jim reference, looking very fetching on her bike.

Francesca (Maya Sansa) places herself between the two men.

Francesca (Maya Sansa) places herself between the two men.

I know relatively little about Molière but I think he at some point came out with the classic humanist line about all characters having human foibles. Gauthier and Serge are both seriously flawed human beings, here played by actors putting in great performances. Personally I go with Serge and Fabrice Luchini is terrific in the pompous/vulnerable mode of comic acting. See our posts on Potiche and In the House. I laughed out loud on several occasions and the Île de Ré looks wonderful (although I’m told it is full of posh French tourists and costs €16 to cross the toll bridge). Lambert Wilson is also excellent in a role very different to his lead in Of Gods and Men. I don’t think I’ve seen anything else by writer-director Philippe Le Guay but I’ve noted that he is ‘thanked’ by the producers of Cherchez Hortense. He’s written a witty script which the two leads lap up with relish. There isn’t too much to watch in UK cinemas at the moment, so this is well worth a visit. Cyclists may also enjoy an Yves Montand chanson about a bicyclette which accompanies one of several cycling scenes.

Here is the delightful trailer (but be warned it includes some of the best bits of a film that is mainly dialogue-driven):

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Under the Rainbow (Au bout du conte, France 2013)

Posted by Roy Stafford on 3 July 2014

Laura (Agather Bonitzer) and (Pierre) Jean-Perre Bacri

Laura (Agathe Bonitzer) and Pierre (Jean-Pierre Bacri making a typical face)

Released without fanfare by Artificial Eye in the UK, the latest film from Agnès Jaoui and Jean-Pierre Bacri deserves a much bigger audience than it is getting in UK cinemas. The couple’s scripts are directed by Jaoui and both are also actors in an ensemble cast. Like their previous films Au bout du conte centres on the ‘cultural’ sector of the French bourgeoisie. The difference here is that Jaoui has decided to incorporate a discourse about fairytales into the familiar network of shifting relationships. The couple’s films are invariably witty takes on relationships informed by previous collaborations with Alain Resnais and Cédric Klapisch (both Jaoui and Bacri also work as actors on separate projects). Here, the starting point is Stephen Sondheim’s Into the Woods and fairytale films like Jacques Demy’s Donkey Skin and Cocteau’s Beauty and the Beast. The English title of the film is not helpful and a better, more helpful translation might be ‘Happily Ever After’, (the end of the fairytale).

In some ways, the central idea here is most similar to the couple’s 2004 film Comme une image (Look at Me, France-Italy). In that film Jean-Pierre Bacri plays a cold-blooded and rather egotistical celebrity author with a daughter who is attempting to become a classical singer. In this new film, he is again a rather grouchy figure (owner of a local driving school) with an estranged son who is a budding composer of ‘contemporary music’. The son is Sandro (Arthur Dupont), the ‘Prince Charming’ of the story, but also in a neat inversion, its Cinderella as well. At a party Sandro meets Laura (Agathe Bonitzer) – and loses his shoe when he rushes off early to pick up his mother who is closing her late night bar. Agathe is the ‘Princess’, the daughter of a wealthy industrialist, but she is also Little Red Riding Hood on her way to her aunt’s house in the woods and prey to the ‘big bad wolf’ who lives next door. The aunt, a hippyish school teacher is played by Jaoui herself. The aunt is also separated from her husband and she takes driving lessons from Bacri’s character. This spiralling of relationships is a common feature of the scripts by Jaoui-Bacri. The scripts are meticulously written with dialogue being Bacri’s specialism.

Agnès Jaoui as Marianne attempts to direct her child actors

Agnès Jaoui as Marianne attempts to direct her child actors

The difference this time is the fairytale discourse. This is presented – and commented on – in a number of ways. At the straightforward iconic level, Jaoui’s character Marianne is attempting to persuade a class of primary children to perform a play based on traditional fairytales. She also lives in a house that resembles a house in the woods in Hansel and Gretel. This visual impression is re-inforced by CGI rendering for a dream sequence and there are references to several forms of mysticism ranging from Marianne’s young daughter’s sudden interest in Jesus via clairvoyants and alternative therapies to modern psychoanalysis. More subtle is the cinematography by the Bulgarian Lubomir Bakchev. In the film’s press notes Jaoui tells us that she and Bakchev shared an interest in Russian films they both saw in Paris years ago. He has come up with a very fluid style for the film which emphasises the ‘swirl’ of relationships and an overall motif of ‘circling’. There are one or two clever devices to create the impression of ‘otherworldliness’. In one scene a teddy bear dances on a window sill as we look through at Pierre. Later we realise it is a wind-up toy but for a moment it looks ‘real’. Much of this effect is about sound and in the press notes Jaoui also discusses her increased confidence in manipulating sound as well as making more use of music. I can’t comment on the ‘contemporary’ score written by Sandro but there is good use of a Gil Scott-Heron song for the sequence in which the ‘Princess’ is ‘lost’. At the end of the film, which doesn’t quite see everyone living ‘happily ever after’, I nevertheless felt better, having enjoyed myself – and laughed out loud several times.

As well as Comme une image, see earlier postings on this blog of Let’s Talk About the Rain (2008) and Looking for Hortense (2012) (which stars Bacri and is directed by Pascale Bonitzer, Agathe’s father).

A short teaser trailer:

 

Posted in Comedies, Films by women, French Cinema | Tagged: , | 1 Comment »

Yves Saint Laurent (France 2014)

Posted by Roy Stafford on 21 June 2014

Pierre Bergé  (Guillaume Gallienne) and Yves Saint Laurent (Pierre Niney) in the dressing room for a fashion show.

Pierre Bergé (Guillaume Gallienne) and Yves Saint Laurent (Pierre Niney) in the dressing room for a fashion show.

It’s time in the UK for the annual rush of French films onto our screens but first there is Yves Saint Laurent which has been around for two or three months in various locations and appears in Bradford next week. I should confess from the outset that I’m not interested in fashion, brand names or celebrities so you might wonder why I went to see a film about a celebrity fashion designer back in March. There are two reasons. First I’m interested in biopics as a form and second, this was the only non-Hollywood film showing in the town I was in.

Yves Saint Laurent is a handsomely-mounted film presented in 2.35:1. I didn’t recognise any of the names of actors or creatives in the titles but I did note that the two lead actors were each given the prestigious appendage of ‘de la Comédie-Française’. Only later did I note that the names of the director (Jalil Lespert), composer and others in the crew suggested a North African link and the film does indeed begin in Algeria in 1958 when Yves is 21 (and already a young star of the fashion industry) and the War of Independence in Algeria is putting pressure on the French colonial families. With this starting point amidst a colonial war, the brilliance of the young Yves and his gay sexuality there is a mix of elements waiting to be exploited in a biopic. What follows does not unfortunately create the drama we might expect.

The triumph of the film is also perhaps its biggest weakness. The clothes are presented reverentially in sumptuous settings and anyone interested in fashion, costumes and set design will have a field day. Again, if you have knowledge of the fashion industry you will enjoy coming across well-known names and how they are involved in the workings of the industry. I do understand that ‘YSL’ is an important figure in the history of fashion. The problem is that with the narrative constructed around the next challenge to present a show more challenging/radical/daring etc. than the one before, the fashion events themselves become increasingly sterile presentations of clothes. Given the characters involved the possibilities for human drama are certainly there and the two lead actors (Pierre Niney as Yves and Guillaume Gallient as his partner Pierre Bergé) certainly could deliver the performances, but my feeling was that the writers were too reverential in their presentation of Yves Saint Laurent himself. As it is we get some familiar stories about the pressures on celebrities and the ways in which they respond. The more sensitive early references to Yves’ sexuality and vulnerability give way to more familiar scenes of degradation with booze and drugs. I began to lose interest and was then shocked to realise that the film just suddenly seemed to end with Yves in his 40s. Since he lived a further thirty years (at a time when his designer brand presumably grew in importance in the fashion industry) I felt like something was missing. I think perhaps I was looking for something similar to the biopic of Serge Gainsbourg.

The most surprising aspect of the film is perhaps its large budget (€12 million) and its popularity in France (box office of $13 million) and the rest of Europe (another $5 million). Clearly there is a big audience for this kind of ‘official’ and safe extravaganza (Saint Laurent’s friends and family seem to have supported the film). It also consolidates the niche genre of the ‘designer biopic’. Following two films focusing on periods of the life of Coco Chanel, we now have this and a second film (‘unofficial’ and scheduled for an October release in France) focusing on Yves Saint Laurent. Enjoy the frocks but don’t expect too much else.

Posted in Biopic, French Cinema | Tagged: | Leave a Comment »

The Italian Straw Hat (Un Chapeau de paille d’Italie, René Clair, France 1927)

Posted by keith1942 on 10 May 2014

Italian still 2

This is one of the classics of French cinema and one of the best films directed by René Clair. It was produced by Alexander Kamenka for Films Albatros at their Montreuil Studio. Films Albatros had started out as a film company of Russian émigrés, including the star actor Ivan Mosjoukine. However most of the émigrés had left Albatros for a new studio at Billancourt. Albatros had been in the forefront of French productions, but now it had to rebuild its success, relying on a series of comedy adaptation. The young René Clair turned in one hit, La Proie du vent (1927) and followed it up with this adaptation and updating of a famous French farce.

He was supported by an excellent cast and production team. The sets by Lazare Meerson and cinematography by Maurice Desfassiaux and Nicolas Roudakoff are all impressive. Most of the film, including many of the fine exteriors, were shot at the studio.

The film’s continued status is confirmed by it being included in Ian Christie’s The Peak of Silent Cinema:

René Clair may have become the forgotten man of classic French cinema, despite a prolific career that stretched from the dada short Entr’acte (1924) through the first French musicals of the early 30s, and up to the mid-1960s Yet his command of sophisticated comedy, both silent and sound, was second to none; and in this inventive adaptation of a vintage farce he offered a spirited alternative to the dominance of Hollywood comedy, at a time when both the French avant-garde and mainstream cinema had reached an impasse. Clair’s solution, in agreeing to film Eugene Labiche’s vintage stage play, was to update it to the belle epoque of 1895 and to shoot it with the utmost simplicity, in the style of early film. Labiche’s play was always a satire on petit bourgeois pretension, with the nurseryman as keen that his daughter should marry a ‘gentleman of leisure’ as Ferdinand is to secure his future. Everything that gets in the way of the wedding represents a threat to the social order that is being confirmed; and in this case most of the obstacles are objects, signs of property and status, which constantly threaten to get out of hand.

And Clair is equally alert to the satirical undercurrent, without ever losing sight of what Henri Bergson termed the “snowball effect… as an object rolls through the play collecting incidents as it goes”. The surrealists, who hated avant-garde pretension, saw that this was no mere

literary adaptation. With its puppet-like characters trapped in their roles, and decor that threatens to engulf them, it achieves the dream-like quality that surrealism prized­ while also remaining a thoroughly civilised, scathing and completely French comedy.

Sight & Sound November 2013

You can catch the film at the National Media Museum on Sunday May 18th with a live piano accompaniment by Darius Battiwalla.

Posted in Comedies, Films for children, French Cinema, Silent Era | Tagged: | Leave a Comment »

 
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