The Case for Global Film

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Archive for the ‘Directors’ Category

Boyhood (US 2014)

Posted by Rona on 24 July 2014

boyhood linklater

Linklater’s latest film appears to be acting as a lightning rod for critical reaction to his work. There is a great deal of review and commentary, a sudden rediscovery of Linklater as auteur,  as he was first embraced when he brought out Slacker during the indie explosion at the end of the 1980s into the early 1990s. Linklater, I think, has suffered from his ability to match form to the material. He has talked about envying the kind of career Vincente Minnelli could have in the Hollywood studio system, directing a wide variety of material on call. For Linklater, this ability has meant that he has been underrated – both in his treatment of form and content. Perhaps a willingness just to direct – such as Bad News Bears – might reduce his value in the eyes of some.  How useful is it to think of him as an auteur, now the term has resurfaced.

The obvious – and great – achievement of Boyhood is how it maintains one consistent tone in the visual appearance of the film, in the performances in filming (shooting on film and not digital) over 12 years. There’s a nice scene, as part of Gabe Klinger’s totally engaging documentary portrait: Double Play: James Benning and Richard Linklater (2014) where Linklater shows Benning some of the work-in-progress on Boyhood. Sandra Adair, his long-time collaborator as editor, talks about how their relationship was formed. (Long-time collaboration is a characteristic of auteurs – and Linklater). Slacker – his defining feature (his second feature film) – demonstrates not only the crafting of a complex narrative structure, but Linklater’s passion for a community of literary, philosophical and artistic engagement and his strong roots in Austin, Texas. These traits have been constantly apparent through films from Slacker, through Waking Life (2001)  and up to Bernie (2011). This latter film failed to gain commercial distribution (emphasising how increasingly difficult it is to release independent work, even when you have the kind of name and track-record Linklater does). It represents the parts of East Texas, Linklater’s home turf, with humour, with sympathy and with a writer’s eye for a great story, however uncomfortable the revelations or strong the local feelings about them. (Bernie is after all, a tale of the convicted murderer of an elderly lady and still continues to generate controversy – not least following Bernie Tiede’s release on the basis he lives at Linklater’s property).

Art and life intertwine in the above. Linklater’s work is generally all about connections – in the structure of his films, in the empathic way he draws people so that we recognise their feelings and relate to them strong. However, there is a detached intellect drawing these connections and making them work successfully as narratives in the cinema which avoids sentimentality. This makes me question the parallels made in reviews with documentary, and highlights a crucial difference between what a documentarian is attempting to do compared with a fiction film writer. Linklater is art not life – a storyteller rather than an observer. What is most visible in Boyhood is the European influences Linklater draws on – and how he develops them in a parallel narrative structure.   Mason Junior reminds us of Antoine Doinel in Truffaut’s (self)exploration in Les quatres cents coups, not in control of his own fate and acted upon by the adults in his life. Linklater, though, likes to construct a narrative out of the different threads and see how they throw up comparisons and contrasts as it unfolds. He signals this connectivity – and this construction – through metaphors running through, visually, in the frame. Patricia Arquette’s single mother raises the two children working hard, limited by her circumstances whilst Ethan Hawke as the father works and travels away on a whaling ship. The nearest she comes is the whale on the side of the removal van and the artwork on her children’s walls. Strong symbolism to emphasise the difference in circumstances. One of the greatest strengths of Linklater’s episodic design is how the threads of both adult and children’s lives intertwine and we shift perspective constantly to walk a mile in each of their shoes. It’s filmmaking of great control and detail which appears to unfold as naturally as documentary observation.

As part of a showing at Bradford with its hard-core of dedicated cinéphiles, a member made an interesting observation about those directors who have place associated with them and mentioned another native of Austin, Texas: Terrence Malick. It’s an interesting comparison – how each of these filmmakers use their understanding of space (and their place) in a different way. There are the parallels between something like Boyhood and Malick’s Tree of Life, both epic in their treatment because they explore the idea of growing up and maturity (and what those things mean). Tree of Life tested audience’s staying power because Malick introduces his modes of reflection by moving out of the diegetic, narrative space.  Linklater, as evident throughout the Before trilogy, is ‘the auteur’ of staying in the moment with his characters. This might be one reason that many of the reviews focus so heavily on the documentary models, ignoring how highly-wrought his work is. It’s curious to see the parallels with Seven Up, the Michael Apted-directed British series that has followed a number of children through their lives. Their stories have a resonance for all of us. Linklater’s purpose, though, is much more like Malick’s than Apted’s. He wants to explore what boyhood means, how the kind of childhood we have affects the kind of adults we might become. And, as sprawling nineteenth century novels did, weave in philosophical and intellectual reflection around our emotional engagement with the characters. The casting becomes a narrative device and productive in itself. We watch in parallel as Ellar Coltrane (and Linklater’s own daughter Lorelei Linklater) grow up through the production of the film – whilst we are strongly rooted in the present tense in each episode. Just as we watched Hawke and Julie Delpy talk, argue discuss and fall in love in the long takes of the Before trilogy but grow up/grow older across the trilogy. Linklater is fascinated with all these aspects – reviews that seem to centre him as an auteur of ‘boyhood’ seem reductive. Perhaps his own boyish face is to blame for this review ‘chatter.’ (As an aside, how fortunate that he chose the kinds of actors who can/are prepared to age on screen. The close-up on the smooth, modern star’s face is eliminating that very thing that makes Linklater’s films so fascinating – being able to empathise with the characters and see ourselves reflected in their faces).

Boyhood, therefore, was the ‘indie epic’ – to use Linklater’s own description. As another of our Bradford group commented, he is in control of structuring emotion – of creating scenes of our lives which convey emotion acutely.  His work creates a real sense of connection and connectivity. He’s the guy who made School of Rock after all. Boyishness aside – Linklater’s body of work is a masterclass in narrative filmmaking.

Sight and Sound July 2014 – carries an interesting inteview with Linklater as part of their feature:  http://www.bfi.org.uk/news-opinion/sight-sound-magazine/reviews-recommendations/film-week-boyhood

Posted in American Independents, Directors | Tagged: , , | 2 Comments »

BIFF 2014 #23: The Gold Diggers (UK 1983)

Posted by Roy Stafford on 14 April 2014

Julie Christie as the 'carnival queen' of GOLD DIGGERS

Julie Christie as the ‘cavalcade queen’ of GOLD DIGGERS

Portrait Without BleedAlthough I’ve always been aware of this film, for some reason I don’t remember watching it in the 1980s. Watching it now I was surprised at how accessible it was. I remember the critical backlash against the film which attracted the attention of the mainstream press because it featured Julie Christie – during her 1980s stint as champion of independent and political film. There are several notable features of its production which are key to its high status in the history of feminist filmmaking in the UK. As well as Sally Potter as writer-director it had a largely female crew and creative team. It was also one of the first films to be produced by the BFI Production Board and the new Channel 4 working together and this means it was in the vanguard of the British experimental and new art film movement of the 1980s. In her succinct and very helpful entry on the Screenonline website, Annette Kuhn comments on the film’s beautiful black and white cinematography by Babette Mangolte, suggesting that it has the qualities of the best European art cinema such as Ingmar Bergman’s films. Mangolte had already worked with Chantal Akerman and was herself already a specialist in photographing dance and performance art as well as working on experimental film and theatre productions.

The Gold Diggers was shot on 35mm with a budget of around £250,000, most of which went on the shoot itself as all the participants, including its star, were on the same basic wage of £30 a day. The look of the film is thus very different from the 16mm low-budget Thriller. Its narrative is, like Thriller, a feminist investigation of patriarchy but with a much wider remit. The story concerns two women, one a computer operator (Collette Lafont from Thriller) and the other an actor/performer (Julie Christie). The computer operator wants to discover how men control the economy through possession of gold and she teams up with the actor who, born to a ‘gold digger’ (scenes shot in Iceland to represent the Klondike) later finds herself as the ‘queen’ in a parade of bankers. She is in effect investigating her own image as a ‘woman in film’. The film’s title is also a clue to this second narrative investigation into the history of cinema itself from Chaplin’s Gold Rush, through Busby Berkeley musicals (Gold Diggers of 1933) to later melodramas and costume pictures. The investigation is both a celebration and a critique of mainstream cinema and, via the chase and the dream sequence, the ways in which those narratives use female stars. Rather than linear, the narrative is circular so the investigation ‘reveals’ many things but never finds closure – the ‘riddle’ of cinema as an art form underpins everything.  If this sounds ‘difficult’, rest assured it isn’t. There are songs and dances (music by Lindsay Cooper, choreography by Sally Potter, who also sings) and sly digs at the pompous men who are definitely not in control of the action. All the performers acquit themselves well and this is not ‘minor’ Julie Christie work.

Intrigued as to how the film was received at the time, I sought out Monthly Film Bulletin and Sight and Sound. In 1984 (when the film was released) the two BFI journals were still separate publications and they had distinctly different writing cultures. MFB in May 1984 included an interview with Sally Potter by Sheila Johnson alongside a detailed and perceptive review of the film by Pam Cook. In Sight & Sound by contrast, the film receives a mainly positive but limited ‘thumbnail review’ in the Summer 1984 issue, but earlier in the Spring issue, Jonathan Rosenbaum had reported from the Rotterdam film festival to the effect that: “Shown only in the Market, it has not yet found many defenders”. To be fair to Rosenbaum, he did write that he found the visuals “deserved applause” and the avant-garde tropes were “consistently fresh and unpredictable”. According to this 2010 review of the BFI’s DVD package of the film and Sally Potter’s shorts, Jonathan Rosenbaum has produced a new essay on the film which refers to him being “taken aback” by the reaction of Janet Maslin (then New York Times film critic) who described watching the film on its 1988 American release as “pure torture”. I have to agree with Rosenbaum. Pure pleasure was my reaction watching it now. I hope more people find the DVD. There are more films from this era to be re-discovered. I note that The Gold Diggers was released alongside another BFI-distributed film, Bette Gordon’s Variety with a script by Kathy Acker. Variety is reviewed in that same MFB issue with an interview with the director conducted by Jane Root. When was the last time two feminist filmmakers were reviewed together in this way?

Posted in Avant-garde cinema, BFI, British Cinema, Directors, Films by women, People, Stars | Tagged: , , , , | Leave a Comment »

BIFF 2014 #22: Thriller (UK 1979)

Posted by Roy Stafford on 13 April 2014

Colette Laffont as Mimi in THRILLER

Colette Laffont as Mimi in THRILLER

Portrait Without BleedSally Potter’s seminal medium-length film Thriller played as the centrepiece of a programme of ‘Sally Potter Shorts’ in the director retrospective at BIFF honouring her BIFF Fellowship. It brought back for me an entire period of British independent filmmaking. No wonder its reputation has lasted and grown – here we get commentaries on class, gender and race, film theory and the status of classical works of high culture.

Potter ‘deconstructs’ Puccini’s La Bohème as a feminist murder mystery. She explores the construction of the two female characters in the opera, Mimi the poor seamstress and Musetta the  café dancer. Potter turns Mimi into the investigator of her own murder and in the process offers us an analysis of how the honest woman must die and the bad girl survive. She adds another layer by casting a black woman to play Mimi. The investigation involves a replaying of key scenes from the opera on an expressionist set complete with mirror and window. The film was shot on 16mm b&w stock and this helps the expressionist noir effect. There are several scenes comprising a succession of still images and the live action is accompanied by extracts from Bernard Herrmann’s Psycho score alongside music from Potter’s frequent collaborator Lindsay Cooper. The overall effect is to open up an analysis of film conventions for the thriller genre as well as the melodrama.

The film was screened non-theatrically at festivals and conferences/workshops during the early 1980s and for many years remained a film more likely to be read about in academic papers than actually seen. It’s now available on YouTube and the hope is that a whole new generation of filmmakers (including feminist filmmakers) will take it as an inspiration. Well done to BIFF for providing further stimulus.

Posted in Avant-garde cinema, British Cinema, Directors, Festivals and Conferences, Films by women, People | Tagged: , , , | Leave a Comment »

BIFF 2014 #13 Rage (UK-US 2009)

Posted by nicklacey on 5 April 2014

Two dimensional characters rendered in full

Two dimensional characters rendered in full

Portrait Without Bleed90-plus minutes of talking heads anyone? I think the thought of that is why Sally Potter’s Rage is rated a mere 4.7 by imdb users. In reality, of course, it’s – at the least – an engaging film that relies on its excellent script and performances to allay any ‘poverty’ in the image. Riz Ahmed, Steve Buscemi, Judi Dench, Eddie Izzard, Jude Law and David Oyelowo are the stand outs in what can actually be called a ‘star studded’ cast. The monologues are ostensibly, we never see him, shot by a student for his school project; though he’s actually posting them on a blog. His subject is a fashion show, which is going ‘pear-shaped’, and Potter’s intention is to skewer the pretensions of the industry.

Not a difficult target, I would suggest, but Potter also goes beyond that focus by implicating western consumerism, and wars, into her film. We are invited to read between the lines of what the self-justifying characters are saying. Inevitably, most of them are as two-dimensional as the green screen; which is almost any colour but green, background. The actors perform the shallowness of the characters to perfection; Bob Balaban talking about his new ‘opportunities’, having being sacked, is particularly good.

But why this form? Potter’s targets are valid but are monologues to camera the best way to offer a subversive look at our capitalist world? I suspect it’s a case of form winning over content. Potter’s purpose was to make a film for mobile phones and chose the best – only? – visible format that would be effective on such small screens. This is not to say it doesn’t look great on the big screen, it makes the performances literally ‘towering’. Rage is worth seeing as Potter, and her performers, have risen to the challenge created by the form’s limitations, but it is more an exercise than a entirely convincing piece of cinema.

Posted in British Cinema, Directors, Festivals and Conferences, Films by women, People | Tagged: , | Leave a Comment »

BIFF 2014 #5: Sally Potter in Conversation

Posted by nicklacey on 31 March 2014

Incisive thoughts

Incisive thoughts

Portrait Without BleedSally Potter was the recipient of the 2014 Bradford International Film Festival Fellowship, awarded after ‘Sally Potter in Conversation’ with Rona Murray. Potter’s certainly a worthy holder of the award and proved engaging in conversation. We know that women struggle in the resolutely sexist film industry and Potter, because she works on the fringes of the mainstream, must surely find it even harder than most of her sex to get her films made. The fact that she’s built up a substantial body of work, all screened during the festival, is a testament to her determination, as well as that of her producers.

Potter and producer Christopher Sheppard, who was also in attendance, set up Adventure Pictures in 1988 and the conversation was illustrated by extracts, provided by the company. I’m sure that even those, in the sizeable audience, that were unfamiliar with Potter’s work would have gained much from her observations. Particularly interesting were the ‘behind the scenes’ footage of the screen tests, including Quentin Crisp for Orlando, and examples of the 2000 girls who, via Facebook, submitted their own tests for Ginger and Rosa; though none were cast.

The conversation offered an insight into Potter’s way of working, which very much concerns getting close to actors to build mutual trust. Potter has managed to work with an impressive array of talent, given the non-commercial bent of her cinema; she says that she’s only failed to get ‘on’ with one (who remains nameless). In the Q & A, that followed the conversation, she was asked about the formal experimentation of her films; she replied that was rooted in her London Film Maker’s Co-op background. The fact that everyone, including Julie Christie, was paid £25 a day on her first feature, The Goldiggers (1983), suggests her political orientation, as does her feminism. Though, she noted somewhat ruefully, that didn’t mean some on the set didn’t work much longer hours than others. I was surprised to learn that Goldiggers was the first British feature directed by a woman since World War II; and shocked to hear that Barry Norman, on the BBC Film Night programme, likened Potter to Dr Johnson’s quip about a dog on hind legs. Yes, the industry is still sexist but not as bad as it was 30 years ago.

When asked if being able to draw on recognised ‘talent’ made it easier to get funding for her films I was surprised to hear that it was only a ‘marginal’ advantage. Then again, it’s true that the influence of Hollywood stars are in decline, with the rise of special effects ‘spectaculars’ dominating what’s bankable.

Mention was made of Potter’s new book, Naked Cinema: Working with Actors, which is described as the book she would have liked to have read when she started making films. That in itself is enough reason to read it.

As to the awarding of the award: it was a little anti-climactic, it was more thrust upon her; though Potter’s short acceptance speech was entirely gracious.

Posted in British Cinema, Directors, Festivals and Conferences, Films by women, People | Tagged: , | 1 Comment »

Miklós Janscó, 1921 – 2014

Posted by keith1942 on 15 February 2014

Miklós Janscó

Miklós Janscó

Apologies for the lateness of this tribute. I noted the attention given to the demise of Phillip Seymour Hoffman, Shirley Temple and (to lesser degree) that fine actor Maximilian Schell. Then checking over obituaries I see that we have lost this fine Hungarian film director.

I was fortunate to see his great films – The Roundup (Svegénylegények, 1965, The Red and the White (Csillagosok, Katonák, 1967) and Red Psalm (Még Kér a Nép, 1972) at Film Societies in the 1960s and 1970s. Even in that radical decade of political and unconventional films this output stood out as distinctive and enthrallingly critical. The early films featured long travelling shots that Vincente Minnelli would have died for. Even now I have only seen a small part of his output. There was a major retrospective in London earlier this century, but as I remember only one film co circulated in the provinces. The Leeds International festival of 2011 featured a two of his films: thought unfortunately one of them relied on DVD.

Janscó’s work remains among the most impressive and stimulating of European art cinema. Certainly his best work in political terms is as striking as that of Jean-Luc Godard whilst his command of film technique equals that of Michelangelo Antonioni. A proper testimonial to his unique contribution to European cinema would be a retrospective. The Berlin International Film Festival has announced plans for one. Let us hope that these will get a wider distribution.

Posted in Directors, East European Cinema | Leave a Comment »

Trial on the Road (Proverka na dorogakh, USSR 1971/1985)

Posted by Roy Stafford on 16 November 2013

The distant figure of Lazarev in German battledress stops a a motorcycle and sidecar in an ambush.

The distant figure of Lazarev in German battledress stops a motorcycle and sidecar in an ambush.

The Leeds International Film Festival excelled itself with this tribute to director Aleksai German who died earlier this year aged 74. I didn’t do any research before the screening and I was completely blown away by some of the scenes as well as intrigued by the overall ideological discourse of this anti-war film set during the bitter fighting in the Western Soviet Empire in the winter of 1942/3. It was only after the screening that I realised that I did know about German (or Gherman/Guerman to distinguish the hard ‘G’). I’m fairly sure that I saw My Friend Ivan Lapshin in 1987 but I remember little about it except that I liked it very much. (The film is now regarded as one of the greatest Russian films.)

German was viewed with suspicion by the Soviet censors and it wasn’t until perestroĭka under Gorbachev that his films began to be seen in Russia or in the West. Trial on the Road was completed in 1971 but not released until 1985 (the date on the 35mm film print screened at the Hyde Park Cinema). The film is based on a story by German’s father Yuri, a legendary writer who wrote films for the director Grigori Kozintsev and acted as a war correspondent during 1940-5. He also wrote short stories and novels, one of which, Operation Happy New Year, became the basis of Trials on the Road. When the younger German began to show an interest in cinema he worked first under his father’s old colleague Kozintsev in the late 1950s. Find out much more about Aleksai German’s films from this interesting blog.

Trial on the Road (there are other English translations such as Checkpoint etc.) is a film about The Great Patriotic War and therefore in the 1970s expected to show the heroism of the Red Army. There is heroism in the film, but it’s complicated and there is realism and humanism to the fore. The ‘Eastern Front’ was the major theatre of the Second World War in Europe (or ‘Eurasia’). Many of the peoples of Eastern Europe and the Baltic states opted to or were forced to fight for the Nazis or the Red Army as they were occupied by one then the other. Others simply became refugees. Many must have changed sides to stay alive. It wasn’t clear to me where exactly this film was set but there are references to Estonia and to the railway line to Pskov – a town in Western Russia close to the borders with Estonia and Latvia.

Lazarev is a former Red Army soldier who defected to the Germans but now wants to change sides again and fight for the partisans behind the German lines. He surrenders to a group of partisans who might just be expected to shoot him as a traitor. (And this has been argued as one of the reasons that the film was not released under Brezhnev – it was seen as counter to the conduct of the war.) Instead the militia leader (or ‘Senior Citizen Lieutenant’ as the subtitles put it) Lokotkov decides that Lazarev could be useful in an audacious plan to steal a food train. Lokotkov also demonstrates a basic humanity. The ‘trial’ of the title refers to the various struggles within the partisan group over Lazarev and the plans for the train. Lazarev proves himself in an attack which captures a German military car. In doing so one of the other partisans is killed and the Red Army Major attached to the partisans tries to blame Lazarev for the death. But Lokotkov (the leading character in the film) gets his way and the plans are brought to fruition. The actor playing Lazarev, Vladimir Zamansky, is said to have been cast because he was not a celebrated actor or a recognisable face. He struck me as an enigmatic but attractive figure, often silent but with a face that could light up – the only flaw in the casting for me was the notion that he had been a taxi driver before the war (I probably have the wrong view of taxi drivers). The main point is that although he does perform ‘heroically’ in redeeming his earlier conduct in going over to the enemy, he can’t be the official ‘hero’ required by the censorship authorities under Brezhnev.

Realism and humanism in war: Lokotkov the wise and thoughtful partisan leader stands up from bathing his feet to argue against the Red Army officer.

Realism and humanism in war: Lokotkov the wise and thoughtful partisan leader stands up from bathing his feet to argue against the Red Army officer.

This is warfare of the most brutal kind carried out in an almost post-apocalyptic wasteland of snow-covered plains, ramshackle villages and sparse woods. German shot the film in black and white with three different cinematographers used for his complex tracking shots across the terrain. Two of the set piece scenes are among the best I’ve ever seen. In one German soldiers appear as wraiths out of the fog overwhelming a Russian lookout. I know that’s been done before but the handling of the scene is terrific. I won’t spoil the second example which was just stunning. The ending of the film celebrates the advance of the Red Army into Germany, but again the director avoids the triumphal and the super-heroism decreed by Soviet socialist realism. Instead he hones in on comradeship and a meeting of the principals from the food train hijack.

This is a must see. I discovered that a free download at reasonable quality is on the Internet Archive website (with links to an English subtitle file. None of German’s films is easily available on DVD outside Russia yet his high status as a filmmaker is not in doubt. If anyone else is brave enough to screen this in a cinema near you, drop everything and go.

Posted in Directors, Festivals and Conferences, People, Russian cinema, Soviet Cinema | Tagged: , , | Leave a Comment »

Look at Me (Comme une image, France-Italy 2004)

Posted by Roy Stafford on 7 October 2013

Ettiene (Jean-Pierre Bacri) and his daughter Lolita (Marilou Berry)

Etienne (Jean-Pierre Bacri) and his daughter Lolita (Marilou Berry)

I’m looking again at some French ‘comedy’ films as part of work on Cherchez Hortense. In Comme une image, the partnership of Agnès Jaoui and Jean-Pierre Bacri offers the same milieu as Cherchez Hortense with Bacri himself as a very different leading character.

Comme une image refers to Lolita, a self-conscious young woman, who is attempting to become a (classical singer). She feels herself to be overweight and unattractive and suffers low esteem because her father Étienne (Bacri), a successful publisher and writer, doesn’t give her much encouragement. (The title could also refer, in a different way, to the father who has a very high opinion of himself – and somehow persuades several others to look ‘up’ to him.) Lolita’s singing teacher Sylvia (Jaoui) is more understanding and through her partner Pierre, also a writer, she meets the publisher. Lolita has a boyfriend who turns out to be interested in her only as a means of getting an introduction to her father. Meanwhile she accidentally meets Sébastien, a young North African-French trainee journalist who she in turn treats badly, though he seems to genuinely care for her. Finally, Karine is Etienne’s new, young and pretty wife, with whom he has a small daughter, step-sister to Lolita. Karine also struggles to maintain her esteem in the face of Etienne’s sarcasm and cruel wit.

‘Comme une image’ is also the title of the novel written by Pierre who becomes drawn into Etienne’s circle. The narrative actually follows the creative projects of Lolita (to sing in a group performance), Pierre (to promote his current title and to start the next) and Etienne (to get over his writer’s block). The strains between the characters culminate in the singing concert at a country church and an after-show party hosted by Eitienne in his nearby country house. The brilliance of the film, directed by Jaoui and co-written by her and Bacri, is in its humanist/realist approach to dialogue and settings. Its conventional staging directs our attention to the swift interchange of lines that seem believable rather than scripted for effect. Bacri is extremely effective as Eitienne who sometimes seems genuinely surprised that others find him cold, cruel, unfeeling etc. and indeed he often speaks and acts in ways that most of us would probably want to emulate at certain times, but are too polite to actually carry through. But if Etienne is at times insufferable, even the most sympathetic character, Sylvia, is capable of anger towards someone else – hurting their feelings (even though she is arguably justified in venting her anger). Most of the characters are simply too weak to risk Etienne’s displeasure – feeling that his patronage will benefit them.

Agnes Jaoui on set (from the blog at http://jaouibacri.blogspot.co.uk/

Agnès Jaoui on set (from the blog at http://jaouibacri.blogspot.co.uk/

I’ve seen Woody Allen mentioned as a reference point for the Jaoui/Bacri films and I can see some resemblances but overall I find the differences more striking. Comme une image is intelligent and serious, yet somehow also light and entertaining. It never strikes me (as Allen’s films sometimes do) as ‘smart’, ‘knowing’ etc. with the expectation of a possible gag or self-conscious aside. (But this may be because I’ve given up on Woody Allen films for many years now.) When I first saw this film on its cinema release I don’t think I was aware of Jaoui’s background which is in part Tunisian-Jewish (the North African Jewish connection is also evident in the backgrounds of Claude Lelouch and Joann Sfar). I don’t recognise any connection to the New York Jewish humour of Woody Allen (I’m sure somebody can correct me on that) but in Comme une image, there is a nicely judged pair of scenes in which Sebastién’s North African heritage is commented on and sensitively ‘dealt with’ as an issue.

Comme une image is a ‘comedy’ because it has a happy ending for two of the main characters. Some of the dialogue is witty but mainly the humour comes from the human frailties displayed by all the characters. I’ve seen the film described as social satire, but I think that usually satire is sharper and more exaggerated. This has an effective satire effect but it is more subtle. I think that the film is a triumph for Agnès Jaoui and Jean-Pierre Bacri. He is a very good actor and writer but she manages to sing and to direct as well. Formidable!

Here’s an American trailer (note that the film was a Cannes Prizewinner for the Script):

Posted in Comedies, Directors, Films by women, French Cinema | Tagged: , , , | Leave a Comment »

 
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